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Recollections of a Civil War Medical Cadet
Burt Green Wilder and Richard M. Reid
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In July 1862, Burt Green Wilder left Boston to join Dr. Francis Brown, a surgeon working at...
BankofMarquis (1832 KP) rated Midway (2019) in Movies
Aug 10, 2020
So bad...it's bad
There are times when you watch a film and you can just hear the conference room discussion that happened back at the studio before getting it green-lit...
Studio Flunky: "Remember the 1970's WWII flick MIDWAY starring Henry Fonda, Charlton Heston, Charles Coborn, Richard Mitchum and an All Star cast"?
Studio Head: "Yeah...I loved that flick..."
Studio Flunky: "We have a fairly weak script here that pretty much rips that off, but we have the Director of Independence Day ready to Direct, so we'd just need some strong actors and top notch special effects to pull it off".
Studio Head: " I love it. Just one thing..."
Studio Flunky: "What's that?"
Studio Head: "Cut the budget to about 1/10th of what you're asking for."
And that's the issue with the Roland Emrich 2019 version of MIDWAY...what the film lacks in script quality, it makes up with by casting weak actors and crossing them with cheap special effects.
Yeah...it doesn't work very well. No wonder it came and went pretty quickly in the theaters.
Patrick Wilson is the most successful in this film in his role as Intelligence Officer Edwin Layton who figures out what the Japanese are up to in the early days of World War II. He has some fun scenes with Brennan Brown as one of this "codebreakers" and his interactions with Woody Harrelson as Admiral Nimitz are fun.
And...that's about it for the acting and interesting things in this film. Harrelson is wasted in his role (he clearly owed someone a favor to appear in what should be considered and extended cameo). Dennis Quaid overacts (as he is want to do) as "Bull" Halsey. Mandy Moore, Aaron Eckhart, Nick Jonas and Luke Evans bring no charisma to roles that were written with the hopes that an actor would bring charisma to them. They all bring "one dimension" and play the heck out of that singular character trait...but interesting characters that does not build.
And then there is the case of Ed Skrein (in the Charlton Heston role) as the "rogue fighter pilot, bucking the system, but learning through the course of this film that he would be more effective bringing his unique insights into the system than buck it". Skrein is my poster child for "warning...bad movie ahead." He has, in my opinion, "anti-charisma". He sucks a movie into his void and we, the audience, are stuck there with him. Of course, we spend most of the film with him...much to my chagrin.
At least, you say, today's special effects would rescue this film.
Nope...it looked like someone's kid slapped something together on his MAC. The depth of the EFX are slim, the color schemes don't seem to match and the actors didn't look at all like they were in the scene with the effects.
Nothing really works in this film. Avoid it at all costs. I can't even give you the "it's so bad it's good" line on this one.
It's so bad, it's bad.
Letter Grade "D"
2 Stars out of 10 and you can take that to the Bank(OfMarquis)
Studio Flunky: "Remember the 1970's WWII flick MIDWAY starring Henry Fonda, Charlton Heston, Charles Coborn, Richard Mitchum and an All Star cast"?
Studio Head: "Yeah...I loved that flick..."
Studio Flunky: "We have a fairly weak script here that pretty much rips that off, but we have the Director of Independence Day ready to Direct, so we'd just need some strong actors and top notch special effects to pull it off".
Studio Head: " I love it. Just one thing..."
Studio Flunky: "What's that?"
Studio Head: "Cut the budget to about 1/10th of what you're asking for."
And that's the issue with the Roland Emrich 2019 version of MIDWAY...what the film lacks in script quality, it makes up with by casting weak actors and crossing them with cheap special effects.
Yeah...it doesn't work very well. No wonder it came and went pretty quickly in the theaters.
Patrick Wilson is the most successful in this film in his role as Intelligence Officer Edwin Layton who figures out what the Japanese are up to in the early days of World War II. He has some fun scenes with Brennan Brown as one of this "codebreakers" and his interactions with Woody Harrelson as Admiral Nimitz are fun.
And...that's about it for the acting and interesting things in this film. Harrelson is wasted in his role (he clearly owed someone a favor to appear in what should be considered and extended cameo). Dennis Quaid overacts (as he is want to do) as "Bull" Halsey. Mandy Moore, Aaron Eckhart, Nick Jonas and Luke Evans bring no charisma to roles that were written with the hopes that an actor would bring charisma to them. They all bring "one dimension" and play the heck out of that singular character trait...but interesting characters that does not build.
And then there is the case of Ed Skrein (in the Charlton Heston role) as the "rogue fighter pilot, bucking the system, but learning through the course of this film that he would be more effective bringing his unique insights into the system than buck it". Skrein is my poster child for "warning...bad movie ahead." He has, in my opinion, "anti-charisma". He sucks a movie into his void and we, the audience, are stuck there with him. Of course, we spend most of the film with him...much to my chagrin.
At least, you say, today's special effects would rescue this film.
Nope...it looked like someone's kid slapped something together on his MAC. The depth of the EFX are slim, the color schemes don't seem to match and the actors didn't look at all like they were in the scene with the effects.
Nothing really works in this film. Avoid it at all costs. I can't even give you the "it's so bad it's good" line on this one.
It's so bad, it's bad.
Letter Grade "D"
2 Stars out of 10 and you can take that to the Bank(OfMarquis)
Bob Mann (459 KP) rated Logan (2017) in Movies
Sep 29, 2021
“When the man comes around”
At last – a superhero movie with real heart… (and not just the chunks over the knuckle blades!). Logan is a bit of a revelation. I was reluctant to go and see it, since a) I’m a lukewarm X-Men fan at best and b) I hadn’t seen either of the previous two Wolverine spin-off films. (Seeing the other Wolverine films, by the way, is not a pre-requisite for enjoying this one). After a long day at work, my choice was “Logan” or “Kong: Skull Island”. I voted for this one, and I’m so glad I did.
It’s now 2029. Hugh Jackman plays Wolverine, but this is not a Wolverine we have seen before. This is an aged and deteriorating superhero: his self-healing powers are waning; a limp is developing; and his fighting prowess (although still legendary) doesn’t show the stamina it once did. This is a Wolverine that is also an unlikely carer, looking after a mentally degenerating Professor Xavier (Patrick Stewart), now 90 years old and finding it increasingly difficult to keep his devastating mental superpowers under control. This is a Wolverine trying desperately to avoid the limelight, working diligently as a limo-driver in an effort to save money for the dream of buying a ‘Sunseeker’ and sailing off with Xavier into the sunset, gaining true anonymity among the boating fraternity.
Life doesn’t play ball though. A brutal encounter with a gang on the highway outside El Paso advertises Wolverine’s presence and brings him into contact with a strange eleven-year-old girl (Dafne Keen) with impressive powers of her own. The girl is being pursued by a “reiver” (Boyd Holbrook, “Run all Night”) supported by a small private army. Against his will, Wolverine is forced into a memorable road trip with the old man and the young girl that leaves a trail of bloodied bodies behind them.
For, be warned, this is an *extremely* violent film, with much dismemberment and ‘blade work’ that must have kept the prosthetics department busy for months. It’s also quite emotionally brutal, particularly within a central segment set in a “Field of Dreams” style idyll (featuring Eriq La Salle from E.R.) that you know in your gut is not going to end with “Goodnight John Boy” pleasantries.
The well-choreographed and frenetic action within the road-trip segment reminded me at times of the harsh cinematography and dynamics of “Mad Max: Fury Road” – a great compliment.
But the film also takes time to pause, in uncharacteristic Marvel-ways, for character development and genuinely intelligent dialogue. These interludes allow the acting to shine, and it is first-rate. We all know (from “Les Miserables” for instance) that Hugh Jackman can act, but this is arguably his best-ever performance: a meaty role (he actually has two in the film) that affords him tremendous range and emotion. At one point towards the end of the film I thought “this has genuine Oscar show-reel potential”. He will surely never get nominated – a Marvel film? Get Away! But wouldn’t it make a refreshing change if he was? Recognizing good acting, regardless of the context.
Patrick Stewart is a great Shakespearean actor, and here he also gets given full rein to impress as he hasn’t had chance to in most of his movie roles to date.
Claiming the prize so far this year for the most unusual casting decision is Stephen Merchant as the albino helper Caliban, unrecognizable to me at first until he had some lengthy dialogue to flex his Bristol accent on! A non-comic and dramatic role, Merchant does really well with it.
Finally, I can’t leave the acting without doffing my cap to young Dafne Keen whose mesmerising feral stare would probably put the fear of God into every parent of a pre-teen girl! Even though she has only a handful of lines, this is an impressive feature film debut. I predict we will see much more of this young lady.
Less convincing to me was Richard E Grant as the evil mastermind behind the scheme, who never quite seemed nasty enough to me to be believable: in one scene he could be calling back a dog that’s run off down the beach rather than desperately trying to gain control of an out of control situation!
Directed by James Mangold (“Walk the Line”, “Knight and Day”), who co-wrote the piece with Scott Frank (“Minority Report”) and Michael Green (“Green Lantern”… yes, really!), this was a gritty and well constructed movie. If you can stomach the gore and the body count (I would see it as very lucky to have got away with its UK ’15’ certificate) this is a rollercoaster of a movie that is recommended.
By the way, to save you from sitting through the end titles (although you do get a Johnny Cash classic to enjoy) there is no “monkey” at the end of this Marvel film. (I’m no stranger to still be sitting there as the lights come up… but many of the crowd that were left looked vaguely embarrassed!)
In terms of my rating, I’m not a fanboy for Marvel or DC properties, but here I award a rating I have only previously bestowed on two superhero films before: the quirky “Ant Man” and the anarchic “Deadpool“….
It’s now 2029. Hugh Jackman plays Wolverine, but this is not a Wolverine we have seen before. This is an aged and deteriorating superhero: his self-healing powers are waning; a limp is developing; and his fighting prowess (although still legendary) doesn’t show the stamina it once did. This is a Wolverine that is also an unlikely carer, looking after a mentally degenerating Professor Xavier (Patrick Stewart), now 90 years old and finding it increasingly difficult to keep his devastating mental superpowers under control. This is a Wolverine trying desperately to avoid the limelight, working diligently as a limo-driver in an effort to save money for the dream of buying a ‘Sunseeker’ and sailing off with Xavier into the sunset, gaining true anonymity among the boating fraternity.
Life doesn’t play ball though. A brutal encounter with a gang on the highway outside El Paso advertises Wolverine’s presence and brings him into contact with a strange eleven-year-old girl (Dafne Keen) with impressive powers of her own. The girl is being pursued by a “reiver” (Boyd Holbrook, “Run all Night”) supported by a small private army. Against his will, Wolverine is forced into a memorable road trip with the old man and the young girl that leaves a trail of bloodied bodies behind them.
For, be warned, this is an *extremely* violent film, with much dismemberment and ‘blade work’ that must have kept the prosthetics department busy for months. It’s also quite emotionally brutal, particularly within a central segment set in a “Field of Dreams” style idyll (featuring Eriq La Salle from E.R.) that you know in your gut is not going to end with “Goodnight John Boy” pleasantries.
The well-choreographed and frenetic action within the road-trip segment reminded me at times of the harsh cinematography and dynamics of “Mad Max: Fury Road” – a great compliment.
But the film also takes time to pause, in uncharacteristic Marvel-ways, for character development and genuinely intelligent dialogue. These interludes allow the acting to shine, and it is first-rate. We all know (from “Les Miserables” for instance) that Hugh Jackman can act, but this is arguably his best-ever performance: a meaty role (he actually has two in the film) that affords him tremendous range and emotion. At one point towards the end of the film I thought “this has genuine Oscar show-reel potential”. He will surely never get nominated – a Marvel film? Get Away! But wouldn’t it make a refreshing change if he was? Recognizing good acting, regardless of the context.
Patrick Stewart is a great Shakespearean actor, and here he also gets given full rein to impress as he hasn’t had chance to in most of his movie roles to date.
Claiming the prize so far this year for the most unusual casting decision is Stephen Merchant as the albino helper Caliban, unrecognizable to me at first until he had some lengthy dialogue to flex his Bristol accent on! A non-comic and dramatic role, Merchant does really well with it.
Finally, I can’t leave the acting without doffing my cap to young Dafne Keen whose mesmerising feral stare would probably put the fear of God into every parent of a pre-teen girl! Even though she has only a handful of lines, this is an impressive feature film debut. I predict we will see much more of this young lady.
Less convincing to me was Richard E Grant as the evil mastermind behind the scheme, who never quite seemed nasty enough to me to be believable: in one scene he could be calling back a dog that’s run off down the beach rather than desperately trying to gain control of an out of control situation!
Directed by James Mangold (“Walk the Line”, “Knight and Day”), who co-wrote the piece with Scott Frank (“Minority Report”) and Michael Green (“Green Lantern”… yes, really!), this was a gritty and well constructed movie. If you can stomach the gore and the body count (I would see it as very lucky to have got away with its UK ’15’ certificate) this is a rollercoaster of a movie that is recommended.
By the way, to save you from sitting through the end titles (although you do get a Johnny Cash classic to enjoy) there is no “monkey” at the end of this Marvel film. (I’m no stranger to still be sitting there as the lights come up… but many of the crowd that were left looked vaguely embarrassed!)
In terms of my rating, I’m not a fanboy for Marvel or DC properties, but here I award a rating I have only previously bestowed on two superhero films before: the quirky “Ant Man” and the anarchic “Deadpool“….
Bob Mann (459 KP) rated Book Club (2018) in Movies
Sep 29, 2021
A book club without a spine.
Let’s be clear before we start; I am NOT in the demographic that this film is aimed at. And judging from the general reactions of the cinema audience I shared this with – 90%+ of who were women aged over 50 – my views are NOT going to necessarily reflect the general view, since there seemed to be quite a few satisfied customers in the audience. But my personal view would be, if you’re going to make a light-hearted comedy aimed at the lucrative silver pound, then at least make it a good one. For this – for me – felt like 50 shades of lame.
The action – if we can stretch the use of English that far – revolves around the four middle-class white ladies (this film challenges neither class nor racial divides) who meet periodically with copious quantities of wine and goat-cheese stuffed tomatoes to discuss a book. Hotel owner Vivian (Jane Fonda, “Klute”, “On Golden Pond”) is making lots of love but is reluctant to commit to it herself; Diane (Diane Keaton, “”Annie Hall”, “Something’s Gotta Give”) is recently widowed and struggling against being pigeon-holed as an ‘old duffer’ by her two daughters; Sharon (Candice Bergen, “Soldier Blue”, “Miss Congeniality”) has devoted her life to her career as a high court judge at the expense of a physical relationship (“What happens to a vagina that hasn’t been used in 18 years?!”); and Carol (Mary Steenburgen (“Back to the Future Part III”) is in a sexless marriage with her recently retired husband Bruce (Craig T Nelson, “Get Hard“, “Poltergeist”).
Vivian introduces the book club to “50 Shades of Grey” and the book influences everyone’s lives in different ways.
What ensues is 100 minutes of double entendres (“You have a lethargic pussy” says a veterinarian… you get the level) as the four separate stories (bump and) grind towards their separate conclusions. There are one or too laugh-out-loud moments but the majority of the screenplay is merely smile-worthy: “Mostly harmless” as Douglas Adams would have said.
What IS good, which is the reason my rating won’t have a “1” in it, is that it does give a reason to see some of our more senior actors and actresses strut their stuff again on the main stage.
In terms of the lead performances, while Steenburgen is good, it is Candice Bergen who impresses most as a fine comic actress. More please! Fonda and Don Johnson (“Miami Vice”) were supposed to be a hot couple, but their acting to me appeared false and their chemistry non-existent: did they have a fight outside the trailer every morning? And Diane Keaton was… well… Diane Keaton: the ditzy old hippy shtick wore a bit thin for me by the end.
We also have appearances from the great Andy Garcia (“The Godfather Part III”, “Oceans 11”), Wallace Shawn (just SOOooo good as the sleazy mob lawyer in “The Good Wife/Fight”) and (best of all) Richard Dreyfuss (“Jaws”, “Close Encounters of the Third Kind”). Dreyfuss has merely a cameo, but I was just longing for more of his character.
Alicia Silverstone (“Clueless”, “Batman & Robin”) even turns up, but her character (together with her sister played by Katie Aselton) is so annoying and vacuous that it’s not easy to warm to her.
A standout – but not in a good way – is the special effects, with some of the dodgiest green screen work I’ve seen in many a year. Think “North by Northwest” quality….. but that’s nearly 60 years old!
So, it’s not a film I would run to see again, but I’m not going to pan it completely, since if you are of the demographic that enjoys such films, you may really enjoy this one. It reminds me somewhat of “It’s Complicated” – and that’s one of my wife’s personal favourites! It also addresses some key topics that will be of relevance to a senior audience, not normally addressed by movies: male impotence resulting from self-doubt; the need to keep a young and ever-inquiring mind; and the good times to be had by getting out and back in the game again after bereavement (yes, you know who you are and you know I’m addressing YOU here!).
The action – if we can stretch the use of English that far – revolves around the four middle-class white ladies (this film challenges neither class nor racial divides) who meet periodically with copious quantities of wine and goat-cheese stuffed tomatoes to discuss a book. Hotel owner Vivian (Jane Fonda, “Klute”, “On Golden Pond”) is making lots of love but is reluctant to commit to it herself; Diane (Diane Keaton, “”Annie Hall”, “Something’s Gotta Give”) is recently widowed and struggling against being pigeon-holed as an ‘old duffer’ by her two daughters; Sharon (Candice Bergen, “Soldier Blue”, “Miss Congeniality”) has devoted her life to her career as a high court judge at the expense of a physical relationship (“What happens to a vagina that hasn’t been used in 18 years?!”); and Carol (Mary Steenburgen (“Back to the Future Part III”) is in a sexless marriage with her recently retired husband Bruce (Craig T Nelson, “Get Hard“, “Poltergeist”).
Vivian introduces the book club to “50 Shades of Grey” and the book influences everyone’s lives in different ways.
What ensues is 100 minutes of double entendres (“You have a lethargic pussy” says a veterinarian… you get the level) as the four separate stories (bump and) grind towards their separate conclusions. There are one or too laugh-out-loud moments but the majority of the screenplay is merely smile-worthy: “Mostly harmless” as Douglas Adams would have said.
What IS good, which is the reason my rating won’t have a “1” in it, is that it does give a reason to see some of our more senior actors and actresses strut their stuff again on the main stage.
In terms of the lead performances, while Steenburgen is good, it is Candice Bergen who impresses most as a fine comic actress. More please! Fonda and Don Johnson (“Miami Vice”) were supposed to be a hot couple, but their acting to me appeared false and their chemistry non-existent: did they have a fight outside the trailer every morning? And Diane Keaton was… well… Diane Keaton: the ditzy old hippy shtick wore a bit thin for me by the end.
We also have appearances from the great Andy Garcia (“The Godfather Part III”, “Oceans 11”), Wallace Shawn (just SOOooo good as the sleazy mob lawyer in “The Good Wife/Fight”) and (best of all) Richard Dreyfuss (“Jaws”, “Close Encounters of the Third Kind”). Dreyfuss has merely a cameo, but I was just longing for more of his character.
Alicia Silverstone (“Clueless”, “Batman & Robin”) even turns up, but her character (together with her sister played by Katie Aselton) is so annoying and vacuous that it’s not easy to warm to her.
A standout – but not in a good way – is the special effects, with some of the dodgiest green screen work I’ve seen in many a year. Think “North by Northwest” quality….. but that’s nearly 60 years old!
So, it’s not a film I would run to see again, but I’m not going to pan it completely, since if you are of the demographic that enjoys such films, you may really enjoy this one. It reminds me somewhat of “It’s Complicated” – and that’s one of my wife’s personal favourites! It also addresses some key topics that will be of relevance to a senior audience, not normally addressed by movies: male impotence resulting from self-doubt; the need to keep a young and ever-inquiring mind; and the good times to be had by getting out and back in the game again after bereavement (yes, you know who you are and you know I’m addressing YOU here!).
Ivana A. | Diary of Difference (1171 KP) rated Wonder Woman: Her Greatest Battles in Books
Aug 21, 2018
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<img src="https://gipostcards.files.wordpress.com/2018/08/book-review-1.png"/>;
This is my first graphic novel, and I did enjoy the art in it! This book contains the greatest battles of Wonder Woman. It is a compilation of seven comic book scenes, all sharing a different battle of Wonder Woman, and a different kind of art.. But even though I enjoyed the art, as a first one, this didn’t make me happy.
The stories are put in this compilation chronologically by when they were made, starting from a scene that was made in 1987, until the last one, which was made in 2013. I will give a brief comment on all of them - in order:
<b>‘’Power Play’’ from Wonder Woman #6 (1987)
<i>Plot & Pencils: George Perez, Script: Len Wein, Inks: Bruce Patterson, Colors: Tatjana Wood, Letters: John Costanza, Cover: George Perez</i></b>
The first story is a scene where Diana is fighting the god of war - Ares. As a first one, it is not the best descriptive piece of information - so for a person that haven’t heard about Wonder Woman before, this one won’t be of any use. I also didn’t quite enjoy the art in this one.
<b><i>‘’And for the first time in his immortal existence, the war-god weeps… for, without those alive to worship him, Ares’ power swiftly wanes…’’</i></b>
<b>‘’In The Forest Of The Night’’ from Wonder Woman #119 (1997)
<i>Story & Art: John Byrne; Colors: Patricia Mulvihill; Cover: Jose Luis Garcia-Lopez</i></b>
In this scene, Diana is on a mission to save officer Michael P. Schorr of the G.C.P.D. from the cheetah that used to be Barbara Minerva. Diana manages to convince Barbara to win the battle with herself and become human again. Even though I didn’t quite enjoy the art - I did enjoy the story itself. It was a great lesson of fighting for who you are within, and winning battles with yourself and not surrendering to anything that might be in your way. We also get to have a little sneak-peak of how Wonder Woman started existing in the first place.
<b><i>‘’Yes, Mike, it is not widely known, but I was not born as mortals are, my mother sculpted a baby from the clay of Themyscira and the Gods themselves breathed life into that clay. ‘’</i></b>
<img src="https://gipostcards.files.wordpress.com/2018/08/book-cover-4.png"/>;
<b>‘’Stoned: Conclusion’’ from Wonder Woman #210 (2005)
<i>Script: Greg Rucka; Pencils: Drew Johnson; Inks: Ray Snyder; Colors: Richard & Tanya Horie; Letters: Todd Klein; Cover: J.G. Jones</i></b>
This one is a gladiator battle between Wonder Woman and Medusa. I really enjoyed this one, the art was amazing and we even get a few scenes with Circe-witch on it. I love how Wonder Woman is presented to be smart and the sacrifice that she made was very brave. Such a powerful story! Amazing!
<b>‘’Sacrifice: Part four’’ from Wonder Woman #219 (2005)
<i>Scripts: Greg Rucka; Pencils:Rags Morales, David Lopez, Tom Derenick, Georges Jeanty & Karl Kerschl; Inks: Mark Propst, BIT, Dexter Vines, Bob Petrecca & Nelson; Colors: Richard & Tanya Horie; Letters: Todd Klein; Cover: J.G. Jones</i></b>
Superman has been brainwashed and wants to kill Diana. Not much happens apart from Wonder Woman and Superman fighting. I didn’t like this one, only because of one quote that says:
<b><i>‘’You’ll forgive me for saying it, princess, but you look good on your knees…’’</i></b>
<b>‘’A Murder Of Crows: Part Two - Throwdown’’ from Wonder Woman #41 (2010)
<i>Script: Gail Simone; Pencils: Chris Batista & Fernando Dagnino; Inks: Doug Hazlewood & Raul Fernandez; Colors: Brad Anderson; Letters: Travis Lanham; Cover: Aaron Lopresti</i></b>
Even though the beginning features Achilles and Patroclus, after a page or two we don’t see them anymore, and I am standing like… what’s the point in mentioning them in the first place then? This piece of art contains a battle between Power Girl and Wonder Woman, and how Power Girl can never be like Wonder Woman, unless, of course, she has no other choice.
I liked this one, maybe the most, even though the art was just average.
<b>‘’Justice League: Part Three’’ from Justice League #3 (2011)
<i>Script: Geoff Johns; Pencils: Jim Lee; Inks: Scott Williams; Colors: Alex Sinclair, HI-FI & Gabe Ettaeb; Letters: Pat Brosseau; Cover: Jim Lee, Scott Williams & Alex Sinclair</i></b>
This piece of art was different than anything else in this book. We see a lot of famous heroes fight, like Superman, Batman, Green Lantern, Aquaman, and of course, Wonder Woman. The art is really colourful, which I enjoyed, but the story was confusing. See, it started from the middle of a comic book, and then ended unfinished. It only covered the part where Wonder Woman appears, but it confused me and I didn’t enjoy the story as much. Again, I didn’t like the way how they express themselves to a woman. They see Wonder Woman and they call dibs on her. Really?
<b>‘’Goddown’’ from Wonder Woman #23 (2013)
<i>Script: Brian Azzarello; Art: Cliff Chiang; Colors: Matthew Wilson; Letters: Jared K. Fletcher; Cover: Cliff Chiang </i></b>
A very confusing chapter, and I didn’t enjoy it at all. It was about Hera and her children, and Wonder Woman protecting them. Even though this is the newest made, it didn’t seem like it, and the art seemed old-style.
Overall, I didn’t enjoy it as much, and it wouldn’t be something I’d choose in the future. I’d rather go with a proper beginning-to-end story rather than a compilation next time.
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<img src="https://gipostcards.files.wordpress.com/2018/08/book-review-1.png"/>;
This is my first graphic novel, and I did enjoy the art in it! This book contains the greatest battles of Wonder Woman. It is a compilation of seven comic book scenes, all sharing a different battle of Wonder Woman, and a different kind of art.. But even though I enjoyed the art, as a first one, this didn’t make me happy.
The stories are put in this compilation chronologically by when they were made, starting from a scene that was made in 1987, until the last one, which was made in 2013. I will give a brief comment on all of them - in order:
<b>‘’Power Play’’ from Wonder Woman #6 (1987)
<i>Plot & Pencils: George Perez, Script: Len Wein, Inks: Bruce Patterson, Colors: Tatjana Wood, Letters: John Costanza, Cover: George Perez</i></b>
The first story is a scene where Diana is fighting the god of war - Ares. As a first one, it is not the best descriptive piece of information - so for a person that haven’t heard about Wonder Woman before, this one won’t be of any use. I also didn’t quite enjoy the art in this one.
<b><i>‘’And for the first time in his immortal existence, the war-god weeps… for, without those alive to worship him, Ares’ power swiftly wanes…’’</i></b>
<b>‘’In The Forest Of The Night’’ from Wonder Woman #119 (1997)
<i>Story & Art: John Byrne; Colors: Patricia Mulvihill; Cover: Jose Luis Garcia-Lopez</i></b>
In this scene, Diana is on a mission to save officer Michael P. Schorr of the G.C.P.D. from the cheetah that used to be Barbara Minerva. Diana manages to convince Barbara to win the battle with herself and become human again. Even though I didn’t quite enjoy the art - I did enjoy the story itself. It was a great lesson of fighting for who you are within, and winning battles with yourself and not surrendering to anything that might be in your way. We also get to have a little sneak-peak of how Wonder Woman started existing in the first place.
<b><i>‘’Yes, Mike, it is not widely known, but I was not born as mortals are, my mother sculpted a baby from the clay of Themyscira and the Gods themselves breathed life into that clay. ‘’</i></b>
<img src="https://gipostcards.files.wordpress.com/2018/08/book-cover-4.png"/>;
<b>‘’Stoned: Conclusion’’ from Wonder Woman #210 (2005)
<i>Script: Greg Rucka; Pencils: Drew Johnson; Inks: Ray Snyder; Colors: Richard & Tanya Horie; Letters: Todd Klein; Cover: J.G. Jones</i></b>
This one is a gladiator battle between Wonder Woman and Medusa. I really enjoyed this one, the art was amazing and we even get a few scenes with Circe-witch on it. I love how Wonder Woman is presented to be smart and the sacrifice that she made was very brave. Such a powerful story! Amazing!
<b>‘’Sacrifice: Part four’’ from Wonder Woman #219 (2005)
<i>Scripts: Greg Rucka; Pencils:Rags Morales, David Lopez, Tom Derenick, Georges Jeanty & Karl Kerschl; Inks: Mark Propst, BIT, Dexter Vines, Bob Petrecca & Nelson; Colors: Richard & Tanya Horie; Letters: Todd Klein; Cover: J.G. Jones</i></b>
Superman has been brainwashed and wants to kill Diana. Not much happens apart from Wonder Woman and Superman fighting. I didn’t like this one, only because of one quote that says:
<b><i>‘’You’ll forgive me for saying it, princess, but you look good on your knees…’’</i></b>
<b>‘’A Murder Of Crows: Part Two - Throwdown’’ from Wonder Woman #41 (2010)
<i>Script: Gail Simone; Pencils: Chris Batista & Fernando Dagnino; Inks: Doug Hazlewood & Raul Fernandez; Colors: Brad Anderson; Letters: Travis Lanham; Cover: Aaron Lopresti</i></b>
Even though the beginning features Achilles and Patroclus, after a page or two we don’t see them anymore, and I am standing like… what’s the point in mentioning them in the first place then? This piece of art contains a battle between Power Girl and Wonder Woman, and how Power Girl can never be like Wonder Woman, unless, of course, she has no other choice.
I liked this one, maybe the most, even though the art was just average.
<b>‘’Justice League: Part Three’’ from Justice League #3 (2011)
<i>Script: Geoff Johns; Pencils: Jim Lee; Inks: Scott Williams; Colors: Alex Sinclair, HI-FI & Gabe Ettaeb; Letters: Pat Brosseau; Cover: Jim Lee, Scott Williams & Alex Sinclair</i></b>
This piece of art was different than anything else in this book. We see a lot of famous heroes fight, like Superman, Batman, Green Lantern, Aquaman, and of course, Wonder Woman. The art is really colourful, which I enjoyed, but the story was confusing. See, it started from the middle of a comic book, and then ended unfinished. It only covered the part where Wonder Woman appears, but it confused me and I didn’t enjoy the story as much. Again, I didn’t like the way how they express themselves to a woman. They see Wonder Woman and they call dibs on her. Really?
<b>‘’Goddown’’ from Wonder Woman #23 (2013)
<i>Script: Brian Azzarello; Art: Cliff Chiang; Colors: Matthew Wilson; Letters: Jared K. Fletcher; Cover: Cliff Chiang </i></b>
A very confusing chapter, and I didn’t enjoy it at all. It was about Hera and her children, and Wonder Woman protecting them. Even though this is the newest made, it didn’t seem like it, and the art seemed old-style.
Overall, I didn’t enjoy it as much, and it wouldn’t be something I’d choose in the future. I’d rather go with a proper beginning-to-end story rather than a compilation next time.
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Bob Mann (459 KP) rated 1917 (2020) in Movies
Jan 12, 2020
Cinematography (1 more)
Visceral and enormously tense movie experience
Visceral, brilliant and a far from relaxing evening at the movies.
It's already won Best Film at the Golden Globes, and seems set for Oscar glory too. Is Sam Mendes's WW1 epic any good?
"The Man is the Mission" - The similarities with the storyline of Spielberg's "Saving Private Ryan" are evident. Lance Corporal Blake (Dean-Charles Chapman) has a brother serving in another battalion of 1,600 men under the command of Colonel Mackenzie (Benedict Cumberbatch). The problem is that they are walking into a trap and are about to be slaughtered when they go over the top at dawn. General Erinmore (Colin Firth) picks Blake and his mate Lance Corporal Will Schofield (George MacKay) to run a dangerous mission to cross no-mans land, break through the German lines and get the message to Mackenzie to call the attack off.
Famously, the movie uses the "Rope" / "Birdman" technique of appearing to film the action as a single continuous take. This adds enormously to the tension as the duo proceed into danger. Aside from a chance meeting with a French foster mother (Claire Duburcq), the tension is maintained at 110% for the film's duration. Which makes for an exhausting watch! Congratulations by the way to Ms Duburcq for bagging the one female role in the whole movie! This is the anti-dote to the female-heavy movies of 2019!
This is a movie you MUST go to see in the cinema. A star of the show is Roger Deakins' cinematography which is just glorious to look at. The hell-holes (literally) of no-mans land are one thing, but then we get the sweeping landscapes of the green french countryside (actually Wiltshire, just a few miles from where I live!). But the really jaw-dropping cinematography for me came in a flare-lit ruined French town. The effect of a raging fire in the distance and the constantly shifting shadows of the ruins is truly spectacular.
All of this is helped by a great score by Thomas Newman, particularly at this moment in the film. The music suits the action perfectly, which is all you can ask for from a score.
I first noticed George MacKay in one of the lead roles in the Proclaimers musical "Sunshine on Leith" and then again in "Pride": both relatively low-key British films. Here he is catapulted onto the global blockbuster stage, and has nowhere to hide being on-screen literally for the whole running time (and he is running!). He doesn't disappoint: the performance is a stellar one and he holds the drama together.
He's got good support though: small but important supporting roles come from not only Firth and Cumberbatch but also Daniel ("Line of Duty") Mays; Andrew ("Kneel!") Scott; Adrian ("Killing Eve") Scarborough and Richard Madden. But my favourite was a quietly strong (no pun intended) from Mark Strong as a friendly captain with good advice for our hero.
Is the single-shot idea a gimmick? Perhaps. But it is extremely effective at maintaining the momentum. Perhaps to a degree it is a bit of a distraction, since I was constantly looking for the cuts (and very clever they are too). But it is undeniably a marvelous piece of film-making. The choreography involved with getting all of those actors and extras moving in unison for the length of some of those takes would make even Busby Berkeley sweat!
There are also some truly extraordinary action shots: a barn scene (and its dramatic aftermath) is one of the most incredible bits of film-making I've seen not just this year (that's not saying much!) but also last year.
The movie is not for the faint-hearted, with some truly gruesome scenes that stick in the mind afterwards. The illustrious Mrs Movie Man spent most of the movie with her hands over her eyes! But in general, this feels authentic. My own grandfather spent 3 days and nights lying wounded in the French mud, before being rescued... by the Germans. War is hell, and the film reflects that.
Director Sam Mendes - also a Golden Globe winner - only goes a bit Hollywood at one point: a musical interlude where an exhausted Schofield creeps into camp (what? no guards?) and listens to a wistful acappella. The realism felt like it went from 10/10 to 7/10.
This is a top-class piece of movie-making and deserves all its award success. I went in with a bit of an "Oscar-bait" attitude; the one-take gimmick peaking my interest but also stoking my cynicism. Was this to be just a technically fabulous movie that would win the awards but not really entertain? But my cynicism was unfounded. It's a gripping watch and a truly memorable movie.
See it. See it at the cinema. And see it at a cinema with as big a screen and with as great a sound system as possible!
(For the full graphical review, please check out the review on One Mann's Movies at https://bob-the-movie-man.com/2020/01/12/one-manns-movies-film-review-1917-2019/ )
"The Man is the Mission" - The similarities with the storyline of Spielberg's "Saving Private Ryan" are evident. Lance Corporal Blake (Dean-Charles Chapman) has a brother serving in another battalion of 1,600 men under the command of Colonel Mackenzie (Benedict Cumberbatch). The problem is that they are walking into a trap and are about to be slaughtered when they go over the top at dawn. General Erinmore (Colin Firth) picks Blake and his mate Lance Corporal Will Schofield (George MacKay) to run a dangerous mission to cross no-mans land, break through the German lines and get the message to Mackenzie to call the attack off.
Famously, the movie uses the "Rope" / "Birdman" technique of appearing to film the action as a single continuous take. This adds enormously to the tension as the duo proceed into danger. Aside from a chance meeting with a French foster mother (Claire Duburcq), the tension is maintained at 110% for the film's duration. Which makes for an exhausting watch! Congratulations by the way to Ms Duburcq for bagging the one female role in the whole movie! This is the anti-dote to the female-heavy movies of 2019!
This is a movie you MUST go to see in the cinema. A star of the show is Roger Deakins' cinematography which is just glorious to look at. The hell-holes (literally) of no-mans land are one thing, but then we get the sweeping landscapes of the green french countryside (actually Wiltshire, just a few miles from where I live!). But the really jaw-dropping cinematography for me came in a flare-lit ruined French town. The effect of a raging fire in the distance and the constantly shifting shadows of the ruins is truly spectacular.
All of this is helped by a great score by Thomas Newman, particularly at this moment in the film. The music suits the action perfectly, which is all you can ask for from a score.
I first noticed George MacKay in one of the lead roles in the Proclaimers musical "Sunshine on Leith" and then again in "Pride": both relatively low-key British films. Here he is catapulted onto the global blockbuster stage, and has nowhere to hide being on-screen literally for the whole running time (and he is running!). He doesn't disappoint: the performance is a stellar one and he holds the drama together.
He's got good support though: small but important supporting roles come from not only Firth and Cumberbatch but also Daniel ("Line of Duty") Mays; Andrew ("Kneel!") Scott; Adrian ("Killing Eve") Scarborough and Richard Madden. But my favourite was a quietly strong (no pun intended) from Mark Strong as a friendly captain with good advice for our hero.
Is the single-shot idea a gimmick? Perhaps. But it is extremely effective at maintaining the momentum. Perhaps to a degree it is a bit of a distraction, since I was constantly looking for the cuts (and very clever they are too). But it is undeniably a marvelous piece of film-making. The choreography involved with getting all of those actors and extras moving in unison for the length of some of those takes would make even Busby Berkeley sweat!
There are also some truly extraordinary action shots: a barn scene (and its dramatic aftermath) is one of the most incredible bits of film-making I've seen not just this year (that's not saying much!) but also last year.
The movie is not for the faint-hearted, with some truly gruesome scenes that stick in the mind afterwards. The illustrious Mrs Movie Man spent most of the movie with her hands over her eyes! But in general, this feels authentic. My own grandfather spent 3 days and nights lying wounded in the French mud, before being rescued... by the Germans. War is hell, and the film reflects that.
Director Sam Mendes - also a Golden Globe winner - only goes a bit Hollywood at one point: a musical interlude where an exhausted Schofield creeps into camp (what? no guards?) and listens to a wistful acappella. The realism felt like it went from 10/10 to 7/10.
This is a top-class piece of movie-making and deserves all its award success. I went in with a bit of an "Oscar-bait" attitude; the one-take gimmick peaking my interest but also stoking my cynicism. Was this to be just a technically fabulous movie that would win the awards but not really entertain? But my cynicism was unfounded. It's a gripping watch and a truly memorable movie.
See it. See it at the cinema. And see it at a cinema with as big a screen and with as great a sound system as possible!
(For the full graphical review, please check out the review on One Mann's Movies at https://bob-the-movie-man.com/2020/01/12/one-manns-movies-film-review-1917-2019/ )
Angelicalynnn (21 KP) Jul 6, 2018
iamsara (130 KP) Jul 19, 2018