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BankofMarquis (1832 KP) rated Eternals (2021) in Movies
Nov 10, 2021
Works Well Enough
The interesting thing about creating a Cinematic “Universe” (like Marvel has done and others are desperately trying to do) is that because it is a “Universe” you can tell different types of stories with different types of characters in differing styles.
In ETERNALS, Marvel has really attempted to open up their “Universe” by introducing their audience to the Eternals, celestial beings that are tangentially interested in the goings-on of the human world.
It’s not a Super-Hero movie, per se, it’s a world of “Gods and Monsters” (to steal a phrase) that has repercussions across the Universe.
So with this background in mind, the ETERNALS succeeds, mostly, because it is trying to be something…else. NOT a SUPERHERO film, but something on a different plane.
Unfortunately, this probably will put off “Fan-boys” who want “more of the same” (more Avengers, more Thanos, more F/X smashy-smashy, fight-fight) and ETERNALS just isn’t intended to be that.
Your first clue that this film is trying to be something else is the choice of Director - recent Oscar Winner Chloe Zhao (NOMADLAND), known for her personal stories and interesting visuals. She brings that sensibility to this film and it (mostly), though it is the type of Cinematic style that works best in low-res (like an independent film like Nomadland) rather than large IMAX Comic-book film event films.
The movie itself is entertaining…enough. It is, necessarily, slow at the beginning as Zhao needs to set up these characters and the realm that they are playing on (and orient the audience as to how this fits with the AVENGERS:ENDGAME of it all). There are 10 (yes, TEN) Eternals to introduce along with ancillary characters, so the film has to take some time to gather steam.
And…it gathers steam, not in the action sequences (which are serviceable) but in the characters and the character interactions and this is where the film really works for me.
Gemma Chan (CRAZY, RICH ASIANS) and Richard Madden (Rob Stark on GAME OF THRONES) are, basically, the lead characters as their relationship takes center stage for most of the film - and these 2 (especially Chan) holds the screen well, which is tough to do since there are so many characters - and so much other things going on.
The real hero of the Marvel Cinematic Universe, IMHO, is the Casting Director who, time-after-time, plucks relative unknowns and throws them into parts that they are perfectly cast for…Salma Hayak (leader of Eternals, Ajak), Lia McHugh (Sprite), Brian Tyree Henry (Phastos), Lauren Ridloff (Makkari) and Barry Keoghan (Druig) all fit their parts well, with the relationship between Makkari and Druig being particularly interesting.
Speaking of interesting relationships, Ma Dong-seok (so good in the Korean Zombie flick TRAIN TO BUSAN) as Gilgamesh almost steals the screen from MOVIE STAR Angelina Jolie’s Thena…almost. Jolie is a MOVIE STAR that just walks onto the screen and commands your attention - and she is perfectly cast as Thena. It is a very smart use of her talents…and her personae as a MOVIE STAR and works very well.
Finally, it took awhile for the film to figure out what to do with Kumail Nanjiani’s character of Kingo (and Nanjiani’s tremendous comedic talents), but, eventually, they do figure it out - but not entirely - which is really the problem with this film. It ALMOST figures out the formula to make this huge, broad, galactic film very personal, but doesn’t quite get there.
I liked, but didn’t LOVE, ETERNALS. I applaud what this film tries to do and I am fine with where it went and was entertained by it. If this is the first part of a journey, then I am anxious to see where ETERNALS goes from here. If this is a “one-off” film, then it doesn’t, quite, work well enough.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
In ETERNALS, Marvel has really attempted to open up their “Universe” by introducing their audience to the Eternals, celestial beings that are tangentially interested in the goings-on of the human world.
It’s not a Super-Hero movie, per se, it’s a world of “Gods and Monsters” (to steal a phrase) that has repercussions across the Universe.
So with this background in mind, the ETERNALS succeeds, mostly, because it is trying to be something…else. NOT a SUPERHERO film, but something on a different plane.
Unfortunately, this probably will put off “Fan-boys” who want “more of the same” (more Avengers, more Thanos, more F/X smashy-smashy, fight-fight) and ETERNALS just isn’t intended to be that.
Your first clue that this film is trying to be something else is the choice of Director - recent Oscar Winner Chloe Zhao (NOMADLAND), known for her personal stories and interesting visuals. She brings that sensibility to this film and it (mostly), though it is the type of Cinematic style that works best in low-res (like an independent film like Nomadland) rather than large IMAX Comic-book film event films.
The movie itself is entertaining…enough. It is, necessarily, slow at the beginning as Zhao needs to set up these characters and the realm that they are playing on (and orient the audience as to how this fits with the AVENGERS:ENDGAME of it all). There are 10 (yes, TEN) Eternals to introduce along with ancillary characters, so the film has to take some time to gather steam.
And…it gathers steam, not in the action sequences (which are serviceable) but in the characters and the character interactions and this is where the film really works for me.
Gemma Chan (CRAZY, RICH ASIANS) and Richard Madden (Rob Stark on GAME OF THRONES) are, basically, the lead characters as their relationship takes center stage for most of the film - and these 2 (especially Chan) holds the screen well, which is tough to do since there are so many characters - and so much other things going on.
The real hero of the Marvel Cinematic Universe, IMHO, is the Casting Director who, time-after-time, plucks relative unknowns and throws them into parts that they are perfectly cast for…Salma Hayak (leader of Eternals, Ajak), Lia McHugh (Sprite), Brian Tyree Henry (Phastos), Lauren Ridloff (Makkari) and Barry Keoghan (Druig) all fit their parts well, with the relationship between Makkari and Druig being particularly interesting.
Speaking of interesting relationships, Ma Dong-seok (so good in the Korean Zombie flick TRAIN TO BUSAN) as Gilgamesh almost steals the screen from MOVIE STAR Angelina Jolie’s Thena…almost. Jolie is a MOVIE STAR that just walks onto the screen and commands your attention - and she is perfectly cast as Thena. It is a very smart use of her talents…and her personae as a MOVIE STAR and works very well.
Finally, it took awhile for the film to figure out what to do with Kumail Nanjiani’s character of Kingo (and Nanjiani’s tremendous comedic talents), but, eventually, they do figure it out - but not entirely - which is really the problem with this film. It ALMOST figures out the formula to make this huge, broad, galactic film very personal, but doesn’t quite get there.
I liked, but didn’t LOVE, ETERNALS. I applaud what this film tries to do and I am fine with where it went and was entertained by it. If this is the first part of a journey, then I am anxious to see where ETERNALS goes from here. If this is a “one-off” film, then it doesn’t, quite, work well enough.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Movie Metropolis (309 KP) rated Halloween (2018) in Movies
Jun 10, 2019
A True successor to the original
Halloween 1978 and little-known director John Carpenter terrifies thousands of impressionable horror fans with the introduction of ‘The Shape’. Jamie Lee Curtis becomes the new ‘scream queen’ and all is well in the world of the slasher genre.
Fast-forward to 2009 and Rob Zombie directs the sequel to his reasonably successful remake of Halloween, but it was poorly received by critics and audiences alike. Why? Well Zombie’s grungy, rock-anthem vibe didn’t really sit too well with Michael Myers and the result was a distasteful and messy outing that set the franchise back nearly 10 years.
Of course, in between 1978 and 2009, the series was ripped apart, put back together again until it was a shadow of its former self. Anyone remember Busta Rhymes doing a vague impression of a karate master in Halloween: Resurrection? Best forget about that.
Nevertheless, director David Gordon Green, a lifetime fan of Carpenter’s iconic original is in the chair to helm a direct sequel to the 1978 classic. That’s right, it forgoes every single film apart from the first. But is it a worthy sequel to one of the greatest horror films of all time?
It’s been 40 years since Laurie Strode survived a vicious attack from crazed killer Michael Myers on Halloween night. Locked up in an institution, Myers manages to escape when his bus transfer goes horribly wrong. Laurie now faces a terrifying showdown when the masked madman returns to Haddonfield. But this time, she’s ready for him.
Having Jamie Lee Curtis and John Carpenter back for this instalment is already a coup for Gordon Green. Clearly, they thought enough of the material that he and co-writer Danny McBride had produced to give one more shot at crafting a properly deserved sequel. And it works very well, so well in fact that we have, barring the original, the best Halloween movie to date.
Jamie Lee Curtis is absolutely fabulous as a world-weary Laurie Strode. Traumatised by the events of 40 years ago, she holds herself up in a cabin on the outskirts of Haddonfield, flanked by floodlights and CCTV cameras. The script does a very good job at showing how massive events can destroy an individual’s life and Curtis’ understated performance is a highlight here.
Judy Greer gets a nicely fleshed out role as Karen, Laurie’s daughter. She’s an incredibly talented actress and it’s a world away from the one-dimensional characters she’s been given to play in blockbusters like Jurassic World. The great thing about this film is that each of the main characters feels real. There’s no cheap sex scenes, the kills are well-placed and the dialogue is superbly written – you actually believe these are real people, rather than characters in a movie.
While the body count is high, Halloween doesn’t rely on the murders to progress the story forward. This is very much Laurie’s film as opposed to Michael’s and it works very well. There’s some nice juxtaposition as shots that would have involved Michael in the original, choose to put Laurie front and centre here. Halloween features some tasteful references to the original as well as its less-well received sequels. They’re not immediately obvious for those not too familiar with the series, but die-hards will enjoy seeing those homages pop up every now and then.
Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it
The film starts relatively slowly with a not quite successful side-plot involving two investigative journalists, but once Michael Myers gets his mask back, the film rarely lets up until the end. Populated by enough kills and scares to keep the audience happy, this is a Halloween movie that doesn’t rely too much on jump scares. There’s a few, but they’re nicely filmed which helps lift them above the mundane.
To look at, this is a film that is head and shoulders above anything else in the genre. Gordon Green uses incredibly fluid camera techniques that almost mimic those of the original. In one extended sequence, Myers moves in and out of shot as the camera follows him from house to house, selecting his next victim. With no cuts in between, it’s a stunning scene to watch and very effective.
Thankfully, the writing duo has decided to pass on giving Michael anything resembling a back story. The embodiment of ‘pure evil’ as Samuel Loomis once put it, Myers needn’t have any motives – and that’s what makes him so terrifying. In fact, his first kill here reaffirms his evil characteristics and it’s clear that David Gordon Green and Danny McBride were aiming for this take on the character.
Then there’s the score. John Carpenter has returned to craft new music for this instalment and it is by far the best score in the series, possibly even better than the original. That haunting Halloween theme tune is back, but upgraded with guitar riffs and electronic percussion. It’s a fabulous update that works perfectly with the modern characters and an older Michael.
While it’s true that the film isn’t out-and-out scary, the finale is exquisite as Laurie and Michael come face-to-face once again. Only the abrupt ending and forgetting of some key characters lets it down. After all, what’s the point in caring about a character and never learning of their fate?
Overall, Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it. While this is sure to make bucket loads at the box-office, it feels like it was crafted with care by a writing team and director that absolutely adores the series. It’s a must watch.
https://moviemetropolis.net/2018/10/20/halloween-2018-review-a-true-successor-to-the-original/
Fast-forward to 2009 and Rob Zombie directs the sequel to his reasonably successful remake of Halloween, but it was poorly received by critics and audiences alike. Why? Well Zombie’s grungy, rock-anthem vibe didn’t really sit too well with Michael Myers and the result was a distasteful and messy outing that set the franchise back nearly 10 years.
Of course, in between 1978 and 2009, the series was ripped apart, put back together again until it was a shadow of its former self. Anyone remember Busta Rhymes doing a vague impression of a karate master in Halloween: Resurrection? Best forget about that.
Nevertheless, director David Gordon Green, a lifetime fan of Carpenter’s iconic original is in the chair to helm a direct sequel to the 1978 classic. That’s right, it forgoes every single film apart from the first. But is it a worthy sequel to one of the greatest horror films of all time?
It’s been 40 years since Laurie Strode survived a vicious attack from crazed killer Michael Myers on Halloween night. Locked up in an institution, Myers manages to escape when his bus transfer goes horribly wrong. Laurie now faces a terrifying showdown when the masked madman returns to Haddonfield. But this time, she’s ready for him.
Having Jamie Lee Curtis and John Carpenter back for this instalment is already a coup for Gordon Green. Clearly, they thought enough of the material that he and co-writer Danny McBride had produced to give one more shot at crafting a properly deserved sequel. And it works very well, so well in fact that we have, barring the original, the best Halloween movie to date.
Jamie Lee Curtis is absolutely fabulous as a world-weary Laurie Strode. Traumatised by the events of 40 years ago, she holds herself up in a cabin on the outskirts of Haddonfield, flanked by floodlights and CCTV cameras. The script does a very good job at showing how massive events can destroy an individual’s life and Curtis’ understated performance is a highlight here.
Judy Greer gets a nicely fleshed out role as Karen, Laurie’s daughter. She’s an incredibly talented actress and it’s a world away from the one-dimensional characters she’s been given to play in blockbusters like Jurassic World. The great thing about this film is that each of the main characters feels real. There’s no cheap sex scenes, the kills are well-placed and the dialogue is superbly written – you actually believe these are real people, rather than characters in a movie.
While the body count is high, Halloween doesn’t rely on the murders to progress the story forward. This is very much Laurie’s film as opposed to Michael’s and it works very well. There’s some nice juxtaposition as shots that would have involved Michael in the original, choose to put Laurie front and centre here. Halloween features some tasteful references to the original as well as its less-well received sequels. They’re not immediately obvious for those not too familiar with the series, but die-hards will enjoy seeing those homages pop up every now and then.
Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it
The film starts relatively slowly with a not quite successful side-plot involving two investigative journalists, but once Michael Myers gets his mask back, the film rarely lets up until the end. Populated by enough kills and scares to keep the audience happy, this is a Halloween movie that doesn’t rely too much on jump scares. There’s a few, but they’re nicely filmed which helps lift them above the mundane.
To look at, this is a film that is head and shoulders above anything else in the genre. Gordon Green uses incredibly fluid camera techniques that almost mimic those of the original. In one extended sequence, Myers moves in and out of shot as the camera follows him from house to house, selecting his next victim. With no cuts in between, it’s a stunning scene to watch and very effective.
Thankfully, the writing duo has decided to pass on giving Michael anything resembling a back story. The embodiment of ‘pure evil’ as Samuel Loomis once put it, Myers needn’t have any motives – and that’s what makes him so terrifying. In fact, his first kill here reaffirms his evil characteristics and it’s clear that David Gordon Green and Danny McBride were aiming for this take on the character.
Then there’s the score. John Carpenter has returned to craft new music for this instalment and it is by far the best score in the series, possibly even better than the original. That haunting Halloween theme tune is back, but upgraded with guitar riffs and electronic percussion. It’s a fabulous update that works perfectly with the modern characters and an older Michael.
While it’s true that the film isn’t out-and-out scary, the finale is exquisite as Laurie and Michael come face-to-face once again. Only the abrupt ending and forgetting of some key characters lets it down. After all, what’s the point in caring about a character and never learning of their fate?
Overall, Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it. While this is sure to make bucket loads at the box-office, it feels like it was crafted with care by a writing team and director that absolutely adores the series. It’s a must watch.
https://moviemetropolis.net/2018/10/20/halloween-2018-review-a-true-successor-to-the-original/