Search
Search results
LeftSideCut (3778 KP) rated Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (2020) in Movies
Feb 8, 2020 (Updated Feb 12, 2020)
Birds of Prey is a mixed bag, but there's just about enough good there to make it an enjoyable time.
I absolutely hated Suicide Squad, so naturally, didn't have high hopes for this. The film is aesthetically in the same vein, and carries a similar tone, but this time around, it mostly works.
One of the only things I liked in SS was Margot Robbie, so making her front and centre here is a smart move. She is undeniably the star, and even a cynical bastard like me has to admit, that she is a solid embodiment of Harley Quinn
The surrounding cast are unfortunately, under developed and have little impact. It's great to see characters like Black Canary, Huntress and Zsasz finally bought to the big screen, and Mary Elizabeth Winstead and Jurnee Smollett-Bell so a good job with what they're given, but the plots focus on Harley, and the films relatively brief runtime, leave little room for development past a flashback here and there, which is a shame.
The only character that comes close to matching the leading lady is Ewan McGregor's Roman Sionis aka Black Mask. McGregor obviously relishes in making Sionis seedy, nasty, misogynistic, and flamboyant, and results in one of those villains that you can't wait to get stomped down. The two of them carry the film, no doubt.
The pacing and narrative structure is comparable to Deadpool, with a good chunk of the film being told through various flashbacks. It honestly feels messy for much of the first half, and the truth is, this structure is hiding a fairly thread bare plot.
When the movie catches up with itself, if you will, and moves forward with a more traditional story path, is where there movie started to shine a bit more. The mid section lost me a little bit, with the exception of the odd set piece (the scene in the police station looks incredible), but when Birds of Prey hits it's third act, it's a lot of dumb, beautifully shot fun. The whole final sequence is great, and instead of the overloaded CGI orgies that I've come to expect from the DCEU, we get given fantastically choreographed, practical fight scenes, full of colour, swearing, a surprisingly hard hitting violence.
I left the cinema talking about all the bits that I liked, a stark contrast to the vitriol I felt after seeing Suicide Squad. It's not perfect, it's messy, it's a little cheesy, and is maybe guilty of thinking it's better than it is, but all in all, I can't find too much to complain about.
Also, that car chase scene was ridiculous (in a good way đ)
I absolutely hated Suicide Squad, so naturally, didn't have high hopes for this. The film is aesthetically in the same vein, and carries a similar tone, but this time around, it mostly works.
One of the only things I liked in SS was Margot Robbie, so making her front and centre here is a smart move. She is undeniably the star, and even a cynical bastard like me has to admit, that she is a solid embodiment of Harley Quinn
The surrounding cast are unfortunately, under developed and have little impact. It's great to see characters like Black Canary, Huntress and Zsasz finally bought to the big screen, and Mary Elizabeth Winstead and Jurnee Smollett-Bell so a good job with what they're given, but the plots focus on Harley, and the films relatively brief runtime, leave little room for development past a flashback here and there, which is a shame.
The only character that comes close to matching the leading lady is Ewan McGregor's Roman Sionis aka Black Mask. McGregor obviously relishes in making Sionis seedy, nasty, misogynistic, and flamboyant, and results in one of those villains that you can't wait to get stomped down. The two of them carry the film, no doubt.
The pacing and narrative structure is comparable to Deadpool, with a good chunk of the film being told through various flashbacks. It honestly feels messy for much of the first half, and the truth is, this structure is hiding a fairly thread bare plot.
When the movie catches up with itself, if you will, and moves forward with a more traditional story path, is where there movie started to shine a bit more. The mid section lost me a little bit, with the exception of the odd set piece (the scene in the police station looks incredible), but when Birds of Prey hits it's third act, it's a lot of dumb, beautifully shot fun. The whole final sequence is great, and instead of the overloaded CGI orgies that I've come to expect from the DCEU, we get given fantastically choreographed, practical fight scenes, full of colour, swearing, a surprisingly hard hitting violence.
I left the cinema talking about all the bits that I liked, a stark contrast to the vitriol I felt after seeing Suicide Squad. It's not perfect, it's messy, it's a little cheesy, and is maybe guilty of thinking it's better than it is, but all in all, I can't find too much to complain about.
Also, that car chase scene was ridiculous (in a good way đ)
Charlie Cobra Reviews (1840 KP) rated Once Upon a Time in Hollywood (2019) in Movies
Jul 7, 2020
A Fairly Tale In Hollywood But Lacks Finesse And Excitement
Once Upon A Time In Hollywood is a 2019 dramedy (drama/comedy) movie written and directed by Quentin Tarantino and producers David Heyman and Shannon Mcintosh. It was produced by Columbia Pictures, Bona Film Group, Heyday Films, and Visiona Romantica and distributed by Sony Pictures Releasing. The movie stars Leonardo DiCaprio, Brad, Margot Robbie, Emile Hirsch and Al Pacino.
In 1969 Los Angeles, actor Rick Dalton (Leonardo DiCaprio) and his best friend and stunt double Cliff Booth (Brad Pitt) navigate their way through an ever changing industry they hardly recognize anymore. Rick laments to Cliff that his career is over, having been the star of Bounty Law a 1950s Western television series and having trouble landing acting jobs as the lead in films. Dalton dreams of befriending actress Sharon Tate (Margot Robbie) and her husband, director Roman Polanski (Rafal Zawierucha), who are now his neighbors, in order to resurrect his career. Booth, who lives in a trailer with his pitbull, Brandy, relies on Dalton for work because of rumors he killed his wife, and drives Dalton around town and does other odd jobs for him.
This movie was definitely not what I expected from Quentin Tarantino. It was very slow building, and honestly boring in a lot of ways. I kept waiting for something to happen, but half way through the movie, still nothing really did. The acting however was outstanding. Leonardo DiCaprio was excellent as Rick Dalton and Brad Pitt was a charmer, I think this movie was awesome in its portrayal of Hollywood from that time and was almost like a fairy tale about Hollywood in a way. The ending of the movie really didn't fit with the rest of the film and was controversial, but to me it didn't fit because it hyper violent like most of Tarantino's other films. To me the ending kind of saved the movie but I see how to others it didn't go with it. I usually really like Tarantino's films but I didn't particularly like this one altogether. It kind of was a collection of good scenes and acting but didn't deliver on an actual story that was good or compelling enough for me personally. But then again I didn't like Inglorious Bastards that much, and thought The Hateful 8 could have been better too. But I loved Django Unchained, and the Kill Bill films and pretty much all his other films. So I would give this movie a 6/10, it's above average in a lot of ways but just fell through for me equally in a lot of ways that can't justify a higher rating from me. Maybe it was overrated or over-hyped, or maybe I just had too high of expectations.
In 1969 Los Angeles, actor Rick Dalton (Leonardo DiCaprio) and his best friend and stunt double Cliff Booth (Brad Pitt) navigate their way through an ever changing industry they hardly recognize anymore. Rick laments to Cliff that his career is over, having been the star of Bounty Law a 1950s Western television series and having trouble landing acting jobs as the lead in films. Dalton dreams of befriending actress Sharon Tate (Margot Robbie) and her husband, director Roman Polanski (Rafal Zawierucha), who are now his neighbors, in order to resurrect his career. Booth, who lives in a trailer with his pitbull, Brandy, relies on Dalton for work because of rumors he killed his wife, and drives Dalton around town and does other odd jobs for him.
This movie was definitely not what I expected from Quentin Tarantino. It was very slow building, and honestly boring in a lot of ways. I kept waiting for something to happen, but half way through the movie, still nothing really did. The acting however was outstanding. Leonardo DiCaprio was excellent as Rick Dalton and Brad Pitt was a charmer, I think this movie was awesome in its portrayal of Hollywood from that time and was almost like a fairy tale about Hollywood in a way. The ending of the movie really didn't fit with the rest of the film and was controversial, but to me it didn't fit because it hyper violent like most of Tarantino's other films. To me the ending kind of saved the movie but I see how to others it didn't go with it. I usually really like Tarantino's films but I didn't particularly like this one altogether. It kind of was a collection of good scenes and acting but didn't deliver on an actual story that was good or compelling enough for me personally. But then again I didn't like Inglorious Bastards that much, and thought The Hateful 8 could have been better too. But I loved Django Unchained, and the Kill Bill films and pretty much all his other films. So I would give this movie a 6/10, it's above average in a lot of ways but just fell through for me equally in a lot of ways that can't justify a higher rating from me. Maybe it was overrated or over-hyped, or maybe I just had too high of expectations.
Phillip McSween (751 KP) rated Rosemary's Baby (1968) in Movies
Jan 13, 2019
Good...Not Great
Rosemaryâs Baby takes you down a rabbit hole and you have no idea whatâs waiting for you at the other end. It drove me mad at times as I tried to figure out just what exactly was going on. The story follows a couple and the strange happenings that ensure when they move into a new apartment complex.
Acting: 10
Beginning: 8
Iâm watching this movie as I write this as I typically try and do when I write reviews. The beginning is intriguing because itâs chocked full of foreshadowing. Hints are dropped here and there and you recognize almost instantly that something is off. Great job here of being subtle without being overbearing.
Characters: 10
Cinematography/Visuals: 8
The film succeeds with a visual jarring aspect where you never really gain your footing. You spend most of the film trying to figure out up from down and thatâs in large part due to the fact that nothing really seems out of sortsâŠexcept for a few things here and there. Director Roman Polanski is like a cat owner with a laser pointer directing your attention in the right place for a bit then redirecting. Everything is under the surface waiting to boil over.
Conflict: 8
As the film progresses and Rosemary (Mia Farrow) descends into madness, you are hoping she can unravel the mystery of what exactly is happening. The conflict comes in the tension of the movements, the things moving under the surface that you know are there. Every new occurrence brings you closer to the truth and makes things more tense.
Genre: 4
This was probably a solid pass for the 1960âs, but itâs honestly pretty tame for todayâs standards. I might catch some heat for not respecting the time period it was filmed in, but if we are identifying this as a horror film, then it pales in comparison to some of the horror that has kept me up at night. Also, when I compare it to a film like The Birds from the same period, it comes up short for me.
Memorability: 5
Pace: 7
Things move quickly enough, especially after the famous âdream sequenceâ that occurs. The pace is driven by the mystery of all the craziness unfolding. You are looking for answers along with Rosemary. A handful of scenes could have been shortened, but things never really drag on for the most part.
Plot: 10
Resolution: 4
Probably my biggest issue with the film. I wonât ruin it, but after everything that transpired, I was looking for a bit more hope for Rosemary. A few tweaks here and there may have altered my opinion of the entire film as a whole.
Overall: 74
Great cinematic storytelling isnât quite enough to elevate Rosemaryâs Baby to a classic in my opinion. Intriguing but not earth-shattering. Worth a one-time watch.
Acting: 10
Beginning: 8
Iâm watching this movie as I write this as I typically try and do when I write reviews. The beginning is intriguing because itâs chocked full of foreshadowing. Hints are dropped here and there and you recognize almost instantly that something is off. Great job here of being subtle without being overbearing.
Characters: 10
Cinematography/Visuals: 8
The film succeeds with a visual jarring aspect where you never really gain your footing. You spend most of the film trying to figure out up from down and thatâs in large part due to the fact that nothing really seems out of sortsâŠexcept for a few things here and there. Director Roman Polanski is like a cat owner with a laser pointer directing your attention in the right place for a bit then redirecting. Everything is under the surface waiting to boil over.
Conflict: 8
As the film progresses and Rosemary (Mia Farrow) descends into madness, you are hoping she can unravel the mystery of what exactly is happening. The conflict comes in the tension of the movements, the things moving under the surface that you know are there. Every new occurrence brings you closer to the truth and makes things more tense.
Genre: 4
This was probably a solid pass for the 1960âs, but itâs honestly pretty tame for todayâs standards. I might catch some heat for not respecting the time period it was filmed in, but if we are identifying this as a horror film, then it pales in comparison to some of the horror that has kept me up at night. Also, when I compare it to a film like The Birds from the same period, it comes up short for me.
Memorability: 5
Pace: 7
Things move quickly enough, especially after the famous âdream sequenceâ that occurs. The pace is driven by the mystery of all the craziness unfolding. You are looking for answers along with Rosemary. A handful of scenes could have been shortened, but things never really drag on for the most part.
Plot: 10
Resolution: 4
Probably my biggest issue with the film. I wonât ruin it, but after everything that transpired, I was looking for a bit more hope for Rosemary. A few tweaks here and there may have altered my opinion of the entire film as a whole.
Overall: 74
Great cinematic storytelling isnât quite enough to elevate Rosemaryâs Baby to a classic in my opinion. Intriguing but not earth-shattering. Worth a one-time watch.
Gareth von Kallenbach (971 KP) rated Ben-Hur (2016) in Movies
Jul 15, 2019
Published in 1880, Ben-Hur: A Tale of the Christ is considered one of the most influential Christian books of the nineteenth century. The success of the novel led to film adaptations, most notably the 1955 academy award winning version of the film string Charlton Heston. Fast forward to 2016 and MGM and Paramount Pictures hope to see continue the success of this proven story with their newest film adaptation Ben-Hur.
The story follows a fictional Jewish Prince, Juda Ben-Hur (Jack Huston) as he is betrayed by his adopted brother and roman officer Messala (Toby Kebbell). Judaâs family is falsely accused of treason and Juda becomes enslaved by the Romans. Fueled by hate, Juda returns to Jerusalem seeking vengeance, until he unexpectedly finds compassion, forgiveness and redemption.
Walking into Ben-Hur, I did not know what to expect. I watched the 1955 version of Ben-Hur in 7th grade and did not remember anything accept the amazing chariot scene. That being said, this 2016 version of Ben-Hur stands on its own as a good film. Set in the time of Jesus, the story of Ben-Hur can be universally understood by people in all walks of life, religious or otherwise. That was something that I really appreciated about this film. Often stories set in a Christian setting can turn out to be distractingly preachy. However, Ben-Hur was the perfect blend of religion being hinted at throughout the story but never actually becoming the focal point of the story as a whole until redemption is found. Sure, it is there throughout for those who want it to be, but it also plays as a quiet catalyst for Juda through the compassion he sees in his wife Esther (Nazanin Boniadi) and Jesus (Rodrigo Santoro).
The film is acted well and the use of relatively unknown actors to play these major roles in an epic like this only works to strengthen the story as a whole. In fact, the most popular actor by far is Morgan Freeman (Ilderim) who has maybe 15-20 minutes of total screen time.
From a technical standpoint, Ben-Hur works not only visually with fantastic epic action scenes, but also in its pacing. The filmâs pacing finds balance between intense action moments and the quieter exposition scenes that helps develop these characters, most notably Juda. We witness Judaâs transformation from naive prince, to a slave fighting for survival, to a man on a mission for revenge and the forgiveness he gains along the way.
Ben-Hur stands out to me this summer because at its core, it is a good coherent story told between impressive action pieces. Unlike so many recent summer blockbusters that are intent on showing off huge set pieces and not much more, Ben-Hur doesnât forget that those action scenes are there to further the plot and tell a human story.
The story follows a fictional Jewish Prince, Juda Ben-Hur (Jack Huston) as he is betrayed by his adopted brother and roman officer Messala (Toby Kebbell). Judaâs family is falsely accused of treason and Juda becomes enslaved by the Romans. Fueled by hate, Juda returns to Jerusalem seeking vengeance, until he unexpectedly finds compassion, forgiveness and redemption.
Walking into Ben-Hur, I did not know what to expect. I watched the 1955 version of Ben-Hur in 7th grade and did not remember anything accept the amazing chariot scene. That being said, this 2016 version of Ben-Hur stands on its own as a good film. Set in the time of Jesus, the story of Ben-Hur can be universally understood by people in all walks of life, religious or otherwise. That was something that I really appreciated about this film. Often stories set in a Christian setting can turn out to be distractingly preachy. However, Ben-Hur was the perfect blend of religion being hinted at throughout the story but never actually becoming the focal point of the story as a whole until redemption is found. Sure, it is there throughout for those who want it to be, but it also plays as a quiet catalyst for Juda through the compassion he sees in his wife Esther (Nazanin Boniadi) and Jesus (Rodrigo Santoro).
The film is acted well and the use of relatively unknown actors to play these major roles in an epic like this only works to strengthen the story as a whole. In fact, the most popular actor by far is Morgan Freeman (Ilderim) who has maybe 15-20 minutes of total screen time.
From a technical standpoint, Ben-Hur works not only visually with fantastic epic action scenes, but also in its pacing. The filmâs pacing finds balance between intense action moments and the quieter exposition scenes that helps develop these characters, most notably Juda. We witness Judaâs transformation from naive prince, to a slave fighting for survival, to a man on a mission for revenge and the forgiveness he gains along the way.
Ben-Hur stands out to me this summer because at its core, it is a good coherent story told between impressive action pieces. Unlike so many recent summer blockbusters that are intent on showing off huge set pieces and not much more, Ben-Hur doesnât forget that those action scenes are there to further the plot and tell a human story.
BankofMarquis (1832 KP) rated Greenland (2020) in Movies
Jul 1, 2021
It Doesn't Work
While surfing through my various streaming services looking for something to get swallowed up into my couch while watching, I encountered GREENLAND a film about a âplanet killingâ comet hurtling towards Earth starring that noted thespian Gerard Butler.
âGreatâ, I thought, âa disaster flick starring the guy from another cheesy disaster flick GEOSTORM, this should be fun, mindless entertainmentâ.
It wasnât mindless and it wasnât - most definitely - fun.
GREENLAND takes a ârealisticâ approach to the âwhat would happen if a killer comet starts barreling towards the Earthâ. Because of this ârealisticâ approach, the mood throughout the film is pretty somber while the characters stand around and talk about the implications/consequences of this event.
There are 3 BIG issues with this film and itâs approach
1). The ârealismâ of what happens only occurs in service to the plot, when our heroes need to get from âPoint Aâ to âPoint Bâ, the freeways and roadways are, magically, empty - and a vehicle (completely full of gas) is conveniently awaiting them.
2). Gerard Butler is not even close enough of a good actor to carry the dialogue-heavy scenes.
3). Butler and his estranged wife (is there any other type of couple in these types of films) played by the âgood enoughâ Morena Baccarin (DEADPOOL) are saddled with one of the most annoying, whiny kids (badly acted by Roger Dale Floyd) in the history of movies. At one point the child disappears from the plot (it would be a spoiler to explain why), I was really hoping that this character would not come back.
About the only thing that works in this film is a brief, extended cameo by Scott Glenn as Baccarinâs father, it lifts the middle of this sagging film at a time that it desperately needed it, giving me hope for the last 1/2 of the movie - a hope that was not realized.
Iâm not sure I can lay all the blame of this failed film on Director Ric Roman Waugh (Angel Has Fallen), but he didnât help himself here, either. He lingers way to long on events, dialogue and scenes, with the standard âlight pianoâ underscore that emphasizes the importance of what is going on.
I blame the Producers of this film who, originally, had Neill Blomkamp (DISTRICT 9) lined up to Direct and Chris Evans to star in his first post-Avengers role. Both ended up dropping out and I can only imagine that the Producers cut the Director, Casting and Special Effects budgets, but kept the seriousness and realism of the tone.
It didnât work.
Skip GREENLAND. If you want to check out âcomets hitting the Earthâ films, I would steer you towards the 1990âs duo of ARMAGEDDON and DEEP IMPACT.
Letter Grade: C
4 Stars (out of 10) and you can take that to the Bank(OfMarquis)
âGreatâ, I thought, âa disaster flick starring the guy from another cheesy disaster flick GEOSTORM, this should be fun, mindless entertainmentâ.
It wasnât mindless and it wasnât - most definitely - fun.
GREENLAND takes a ârealisticâ approach to the âwhat would happen if a killer comet starts barreling towards the Earthâ. Because of this ârealisticâ approach, the mood throughout the film is pretty somber while the characters stand around and talk about the implications/consequences of this event.
There are 3 BIG issues with this film and itâs approach
1). The ârealismâ of what happens only occurs in service to the plot, when our heroes need to get from âPoint Aâ to âPoint Bâ, the freeways and roadways are, magically, empty - and a vehicle (completely full of gas) is conveniently awaiting them.
2). Gerard Butler is not even close enough of a good actor to carry the dialogue-heavy scenes.
3). Butler and his estranged wife (is there any other type of couple in these types of films) played by the âgood enoughâ Morena Baccarin (DEADPOOL) are saddled with one of the most annoying, whiny kids (badly acted by Roger Dale Floyd) in the history of movies. At one point the child disappears from the plot (it would be a spoiler to explain why), I was really hoping that this character would not come back.
About the only thing that works in this film is a brief, extended cameo by Scott Glenn as Baccarinâs father, it lifts the middle of this sagging film at a time that it desperately needed it, giving me hope for the last 1/2 of the movie - a hope that was not realized.
Iâm not sure I can lay all the blame of this failed film on Director Ric Roman Waugh (Angel Has Fallen), but he didnât help himself here, either. He lingers way to long on events, dialogue and scenes, with the standard âlight pianoâ underscore that emphasizes the importance of what is going on.
I blame the Producers of this film who, originally, had Neill Blomkamp (DISTRICT 9) lined up to Direct and Chris Evans to star in his first post-Avengers role. Both ended up dropping out and I can only imagine that the Producers cut the Director, Casting and Special Effects budgets, but kept the seriousness and realism of the tone.
It didnât work.
Skip GREENLAND. If you want to check out âcomets hitting the Earthâ films, I would steer you towards the 1990âs duo of ARMAGEDDON and DEEP IMPACT.
Letter Grade: C
4 Stars (out of 10) and you can take that to the Bank(OfMarquis)
Emma @ The Movies (1786 KP) rated Jojo Rabbit (2019) in Movies
Jan 11, 2020
If you asked me why I skipped seeing this one twice before it's UK release I wouldn't be able to give you a proper answer. I guess I just didn't fancy it, and the second time Odeon outdid Cineworld with a really early Parasite screening so that felt like the sensible choice instead.
Jojo wants to be a good German, but as he's about to go off to a Nazi Youth Camp he worries about how he'll do. Luckily he has a friend to help him through it, Adolf Hitler. The Fuhrer is always with him in spirit.
Recovering at home after an accident Jojo discovers that he's not alone in the house. He discovers Elsa hiding in a wall space upstairs, hidden by his mother. Jojo is torn, he should report her to the authorities but that could be bad news for him and his mother.
I was genuinely surprised about who was turning up to see this. There were a lot of family groups and groups of teenagers. It shouldn't really shock me, everyone has their own interests in a wide variety of things, but I wasn't expecting to see such young people coming to see it.
By far my favourite thing about this film was Sam Rockwell as Captain Klenzendorf, a little bitter with his situation and begrudgingly training the kids for the battles ahead, he's making the best of a bad situation. He's funny, and more importantly, glorious in battle. From the ridiculous to a surprisingly moving scene at the end, he was the performance of the whole film for me.
Child actors have their ups and downs, some have the knack right out of the gate but I didn't really get that from Roman Griffin Davis or Archie Yates. Both got some good moments out of the script but their delivery and the consistency of the characters didn't carry through it as a whole.
Thomasin McKenzie however brought a little something extra to her role of Elsa. I didn't mind her slightly more serious parts in this but it was difficult to get much more out of it when so much revolved around her and Jojo in scenes together. I don't like "awkward" and some of the scenes are *shudder*.
I can't really talk about the film without talking about Taika Waititi as Hitler. I found him quite amusing to begin with but when the character started to change as Jojo did I felt it was a little over the top.
Dramatic moments pop up when you really aren't expecting them, two in particular stuck with me afterwards. One, as I mentioned, with Sam Rockwell and the other with Scarlett Johansson. Rockwell's was a complete surprise, but ScarJo's, though unexpected, was overplayed a lot in the build up.
Jojo Rabbit is a very odd film, I didn't know what to expect at all really and the final result left me no wiser. Entertaining yes, but not something I would have to see again.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/jojo-rabbit-movie-review.html
Jojo wants to be a good German, but as he's about to go off to a Nazi Youth Camp he worries about how he'll do. Luckily he has a friend to help him through it, Adolf Hitler. The Fuhrer is always with him in spirit.
Recovering at home after an accident Jojo discovers that he's not alone in the house. He discovers Elsa hiding in a wall space upstairs, hidden by his mother. Jojo is torn, he should report her to the authorities but that could be bad news for him and his mother.
I was genuinely surprised about who was turning up to see this. There were a lot of family groups and groups of teenagers. It shouldn't really shock me, everyone has their own interests in a wide variety of things, but I wasn't expecting to see such young people coming to see it.
By far my favourite thing about this film was Sam Rockwell as Captain Klenzendorf, a little bitter with his situation and begrudgingly training the kids for the battles ahead, he's making the best of a bad situation. He's funny, and more importantly, glorious in battle. From the ridiculous to a surprisingly moving scene at the end, he was the performance of the whole film for me.
Child actors have their ups and downs, some have the knack right out of the gate but I didn't really get that from Roman Griffin Davis or Archie Yates. Both got some good moments out of the script but their delivery and the consistency of the characters didn't carry through it as a whole.
Thomasin McKenzie however brought a little something extra to her role of Elsa. I didn't mind her slightly more serious parts in this but it was difficult to get much more out of it when so much revolved around her and Jojo in scenes together. I don't like "awkward" and some of the scenes are *shudder*.
I can't really talk about the film without talking about Taika Waititi as Hitler. I found him quite amusing to begin with but when the character started to change as Jojo did I felt it was a little over the top.
Dramatic moments pop up when you really aren't expecting them, two in particular stuck with me afterwards. One, as I mentioned, with Sam Rockwell and the other with Scarlett Johansson. Rockwell's was a complete surprise, but ScarJo's, though unexpected, was overplayed a lot in the build up.
Jojo Rabbit is a very odd film, I didn't know what to expect at all really and the final result left me no wiser. Entertaining yes, but not something I would have to see again.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/jojo-rabbit-movie-review.html
Hazel (1853 KP) rated Book of Fire in Books
Mar 7, 2020
I was provided a copy of this book via Netgalley in exchange for an honest review
Combining dystopia and ancient history, Michelle Kenney's debut series Book of Fire slots nicely into the list of best young adult science-fiction. Set in the not so distant future, the world has been destroyed and human life can only be sustained within a specially designed lifedome - at least that is what everyone living inside has been told. The protagonist, Talia, begs to differ, having lived in secret on the outside all her life.
A rogue test missile exploded with cataclysmic effect on 3rd November 2025, leaving cities in ruins. Whilst most people ran to the lifedome, Talia's grandfather and a few others ran in the opposite direction. For years, they have lived in the relative safety of Arafel, whose existence has been kept hidden from the majority of the people living in the dome.
Unfortunately, the leader of the lifedome is one of the few who knows of their existence and wishes to eradicate them and Talia's peaceful life is suddenly destroyed when her grandfather and her twin brother Eli are captured by soldiers. Determined to rescue them, Talia and her friend Max break into the dome but what they discover makes them even more concerned about the life of not just their families but all the remaining humans.
Obsessed with Ancient Rome, the lifedome's leader Octavia has created a replica of the historical city, going as far as to genetically produce strong and powerful gladiators. Yet, the more Talia sees of the lifedome - Pantheon - the more she realises it is not just extra-strong humans that Octavia has been experimenting with. Hidden in the depth of the dome are mythological creatures made from a mix of human and animal parts; creatures that should not exist, however, they all have various defects.
Talia soon learns that her grandfather was kidnapped for a reason: he knows the secret to create the perfect DNA for these creatures and, in turn, Talia unwittingly knows it too.
Initially, all Talia wanted was her grandfather and brother back but now she is part of something much bigger and must choose between her family, self-preservation and the rest of the human race. On top of that, she begins to fall for a pseudo-Roman Gladiator. Could it get any more complicated?
Michelle Kenney has created a world where the monsters turn out to be the heroes and the humans in charge, the monsters. Reading this at the time of the coronavirus makes the apocalyptic situation a little too close for comfort but it provides a strong message not to mess with things that no longer exist. Imperfection is a common by-product of life's recover - if only Octavia could have accepted that.
Book of Fire is the first in a promising trilogy that will transport you into a world of fantasy, danger, wonderful creatures and a hint of reality. For those who love ancient history and dystopian fiction will thoroughly enjoy this series.
Combining dystopia and ancient history, Michelle Kenney's debut series Book of Fire slots nicely into the list of best young adult science-fiction. Set in the not so distant future, the world has been destroyed and human life can only be sustained within a specially designed lifedome - at least that is what everyone living inside has been told. The protagonist, Talia, begs to differ, having lived in secret on the outside all her life.
A rogue test missile exploded with cataclysmic effect on 3rd November 2025, leaving cities in ruins. Whilst most people ran to the lifedome, Talia's grandfather and a few others ran in the opposite direction. For years, they have lived in the relative safety of Arafel, whose existence has been kept hidden from the majority of the people living in the dome.
Unfortunately, the leader of the lifedome is one of the few who knows of their existence and wishes to eradicate them and Talia's peaceful life is suddenly destroyed when her grandfather and her twin brother Eli are captured by soldiers. Determined to rescue them, Talia and her friend Max break into the dome but what they discover makes them even more concerned about the life of not just their families but all the remaining humans.
Obsessed with Ancient Rome, the lifedome's leader Octavia has created a replica of the historical city, going as far as to genetically produce strong and powerful gladiators. Yet, the more Talia sees of the lifedome - Pantheon - the more she realises it is not just extra-strong humans that Octavia has been experimenting with. Hidden in the depth of the dome are mythological creatures made from a mix of human and animal parts; creatures that should not exist, however, they all have various defects.
Talia soon learns that her grandfather was kidnapped for a reason: he knows the secret to create the perfect DNA for these creatures and, in turn, Talia unwittingly knows it too.
Initially, all Talia wanted was her grandfather and brother back but now she is part of something much bigger and must choose between her family, self-preservation and the rest of the human race. On top of that, she begins to fall for a pseudo-Roman Gladiator. Could it get any more complicated?
Michelle Kenney has created a world where the monsters turn out to be the heroes and the humans in charge, the monsters. Reading this at the time of the coronavirus makes the apocalyptic situation a little too close for comfort but it provides a strong message not to mess with things that no longer exist. Imperfection is a common by-product of life's recover - if only Octavia could have accepted that.
Book of Fire is the first in a promising trilogy that will transport you into a world of fantasy, danger, wonderful creatures and a hint of reality. For those who love ancient history and dystopian fiction will thoroughly enjoy this series.
BankofMarquis (1832 KP) rated Angel Has Fallen (2019) in Movies
Aug 26, 2019
Nolte steals the movie
It's always interesting to me that when I leave a film and realize that the best part of the movie I just saw was the extra scene during the credits. What were the folks that made this movie thinking? Did they save the best for last? Most of the time it is - unfortunately - that this scene shines BECAUSE it really has nothing to do with the rest of the film, in both style and substance.
Such is the case with ANGEL HAS FALLEN the 3rd film in the "Fallen" series (following OLYMPUS HAS FALLEN and LONDON HAS FALLEN) that follows the trials and tribulations of White House Secret Service Agent Mike Banning (Gerard Butler) as he tries, once again, to save the President (a game, stern - yet sincere - Morgan Freeman) from an assassination attempt. But this time...the twist is...that Mike is framed for the attempt, so he has to go on the lamb "The Fugitive" style to clear his name and to find out who really dunnit.
I figured out who dunnit - and who was behind it - in about the first 3 minutes those characters/performers were on the screen - but it's the destination, not the journey, that counts in these types of films and this journey is..."so-so".
The plot contrivances, action sequences and chase scenes are all pretty middle-of-the-road with Director Ric Roman Waugh (SNITCH, FELON) resorting to the quick-cut, jittery camera "cinema verite" style of action shooting that, to me, shows laziness in choreography and originality and ends up giving me a bit of a headache.
So...failing a good plot and good action sequences, a film like this must have good, interesting characters and good, interesting actors inhabiting them. And...for the most part...that part of this film generates some interest as the previously mentioned Morgan Freeman, the always dependable Lance Reddick, the oily Danny Huston and the quirky Tim Blake Nelson all share the screen to good effect. Piper Perabo also joins the fray as Mike's wife and she elevates that side of the proceedings.
In the end, it comes down to the screen presence and charisma of star Gerard Butler as Mike and - unfortunately - he just doesn't have enough of that to keep things interesting. Especially when he spends a large part of the film playing against an actor who plays Butler's father - the one and only Nick Nolte.
And he...just about...steals the movie. Here is an actor that has screen presence and charisma to spare, even under long hair, a beard and a voice that has seen many, many cigarettes and booze.
And this takes us back to the beginning (or should I say, the end) of the film...Nolte and Butler share the end credits scene and it's, by far, the best darn thing in this mediocre film.
If you're going to sit through this, make sure you stay for the end credits scene.
Letter Grade B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
Such is the case with ANGEL HAS FALLEN the 3rd film in the "Fallen" series (following OLYMPUS HAS FALLEN and LONDON HAS FALLEN) that follows the trials and tribulations of White House Secret Service Agent Mike Banning (Gerard Butler) as he tries, once again, to save the President (a game, stern - yet sincere - Morgan Freeman) from an assassination attempt. But this time...the twist is...that Mike is framed for the attempt, so he has to go on the lamb "The Fugitive" style to clear his name and to find out who really dunnit.
I figured out who dunnit - and who was behind it - in about the first 3 minutes those characters/performers were on the screen - but it's the destination, not the journey, that counts in these types of films and this journey is..."so-so".
The plot contrivances, action sequences and chase scenes are all pretty middle-of-the-road with Director Ric Roman Waugh (SNITCH, FELON) resorting to the quick-cut, jittery camera "cinema verite" style of action shooting that, to me, shows laziness in choreography and originality and ends up giving me a bit of a headache.
So...failing a good plot and good action sequences, a film like this must have good, interesting characters and good, interesting actors inhabiting them. And...for the most part...that part of this film generates some interest as the previously mentioned Morgan Freeman, the always dependable Lance Reddick, the oily Danny Huston and the quirky Tim Blake Nelson all share the screen to good effect. Piper Perabo also joins the fray as Mike's wife and she elevates that side of the proceedings.
In the end, it comes down to the screen presence and charisma of star Gerard Butler as Mike and - unfortunately - he just doesn't have enough of that to keep things interesting. Especially when he spends a large part of the film playing against an actor who plays Butler's father - the one and only Nick Nolte.
And he...just about...steals the movie. Here is an actor that has screen presence and charisma to spare, even under long hair, a beard and a voice that has seen many, many cigarettes and booze.
And this takes us back to the beginning (or should I say, the end) of the film...Nolte and Butler share the end credits scene and it's, by far, the best darn thing in this mediocre film.
If you're going to sit through this, make sure you stay for the end credits scene.
Letter Grade B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
Lee (2222 KP) rated Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (2020) in Movies
Feb 8, 2020
Without a doubt, the best thing about the disastrous Suicide Squad movie of 2016 was Margot Robbie as Harley Quinn. With what little she was given to work with, she went all in and truly made the role her own. A return to the character was inevitable really, and thankfully, that return is not in the form of Suicide Squad 2 but Birds of Prey and the fabulous emancipation of one Harley Quinn.
When we join Harley, sheâs just broken up with the Joker. A nice little animated intro, with voiceover from Harley, gives us a quick overview of her life from birth, through childhood and eventually to the point where her and Mr J part ways. She hasnât made it public knowledge just yet though, for fear of what might happen when word gets out that she no longer has the Jokerâs protection. Instead, Harley buys herself a hyena called Bruce, takes part in vicious roller derbys and spends her nights partying at the nightclub of Gotham crime lord Roman Sionis (Ewan McGregor).
Following an explosive public declaration of her relationship status - driving a big truck into Ace Chemicals, the spot where Harley first pledged herself to Mr J - Harley begins to find her life becoming increasingly entwined with that of the other Birds of Prey that will eventually make up the all-women squad. Renee Montoya (Rosie Perez) is a detective, in the process of investigating a series of murders by a crossbow wielding killer named Huntress (Mary Elizabeth Winstead) before the chemical factory explosion. Black Canary (Jurnee Smollett-Bell), a singer at Sionisâ nightclub and packing a voice powerful enough to shatter glass. And finally, young pickpocket Cassandra Cain (Ella Jay Basco). All of these women either have an axe to grind with men that treated them badly, or are currently being hunted by most of Gotham Cityâs bad guys. Their coming together, and subsequent emancipation, forms the basis of the movie.
That initial process involves a lot of time shifting and flashbacks while we are introduced to the key characters and plot points, before jumping back minutes, hours or even days in order to start filling in the narrative blanks. Itâs messy at times and for the most part, it doesnât really work either. Thankfully though, itâs a tactic that is ditched well before the halfway point.
The âBirdsâ all have interesting back stories, and great potential in some cases too, but for the most part itâs Harley who is front and centre, stealing the limelight, and it never really feels as though we get to experience the others very much in comparison. Outside of the female leads, I didnât really think much of Ewan McGregor and didnât feel him to be a very convincing threat at all.
Birds of Prey is jam packed with creatively chaotic action and fight scenes from Chad Stahelski, who was responsible for the John Wick movies. They are confidently executed, at times cartoon-like, and usually accompanied by a kick-ass soundtrack.
I was initially going to give this a 6/10. But then I looked back at my rating for Suicide Squad and saw that was the rating I gave that. Birds of Prey is good, but not great. However, it is definitely a big improvement on Suicide Squad, so for that I give it a 7.
When we join Harley, sheâs just broken up with the Joker. A nice little animated intro, with voiceover from Harley, gives us a quick overview of her life from birth, through childhood and eventually to the point where her and Mr J part ways. She hasnât made it public knowledge just yet though, for fear of what might happen when word gets out that she no longer has the Jokerâs protection. Instead, Harley buys herself a hyena called Bruce, takes part in vicious roller derbys and spends her nights partying at the nightclub of Gotham crime lord Roman Sionis (Ewan McGregor).
Following an explosive public declaration of her relationship status - driving a big truck into Ace Chemicals, the spot where Harley first pledged herself to Mr J - Harley begins to find her life becoming increasingly entwined with that of the other Birds of Prey that will eventually make up the all-women squad. Renee Montoya (Rosie Perez) is a detective, in the process of investigating a series of murders by a crossbow wielding killer named Huntress (Mary Elizabeth Winstead) before the chemical factory explosion. Black Canary (Jurnee Smollett-Bell), a singer at Sionisâ nightclub and packing a voice powerful enough to shatter glass. And finally, young pickpocket Cassandra Cain (Ella Jay Basco). All of these women either have an axe to grind with men that treated them badly, or are currently being hunted by most of Gotham Cityâs bad guys. Their coming together, and subsequent emancipation, forms the basis of the movie.
That initial process involves a lot of time shifting and flashbacks while we are introduced to the key characters and plot points, before jumping back minutes, hours or even days in order to start filling in the narrative blanks. Itâs messy at times and for the most part, it doesnât really work either. Thankfully though, itâs a tactic that is ditched well before the halfway point.
The âBirdsâ all have interesting back stories, and great potential in some cases too, but for the most part itâs Harley who is front and centre, stealing the limelight, and it never really feels as though we get to experience the others very much in comparison. Outside of the female leads, I didnât really think much of Ewan McGregor and didnât feel him to be a very convincing threat at all.
Birds of Prey is jam packed with creatively chaotic action and fight scenes from Chad Stahelski, who was responsible for the John Wick movies. They are confidently executed, at times cartoon-like, and usually accompanied by a kick-ass soundtrack.
I was initially going to give this a 6/10. But then I looked back at my rating for Suicide Squad and saw that was the rating I gave that. Birds of Prey is good, but not great. However, it is definitely a big improvement on Suicide Squad, so for that I give it a 7.
JT (287 KP) rated Fast & Furious 6 (2013) in Movies
Mar 10, 2020
I've been a fan of this franchise since the very first film, and while Tokyo Drift might have been a little blip, or bump in the road, there is no denying that the films have delivered box office success. Fast and Furious 6 is the second film to be left on a cliffhanger (weâll get to that later) and delves deep into the story of the mystery surrounding Lettyâs (Michelle Rodriguez) death a few films ago. I donât regard that as a plot spoiler as itâs in the trailer. Having demolished most of Rio and now living peacefully in a country with no extradition Dom and new dad Brian think that they have put all their troubles behind them.
After the opening credits montage, agent Hobbs (Johnson) comes knocking. His offer requires all the team converge once again, this time they have to track down and capture a ruthless mercenary called Owen Shaw (Luke Evans). Hobbs and Toretto have to stand side by side working together to take down the villain. Letty of course has returned and is working for the bad guys but has no memory of her past life. If youâre a true fan then the plot will reveal more back story and as it turns out part six is practically a sequel to part four with past villains announcing a few home truths.
The film and action is set in the heart of London which, includes a car chase that defies belief, a mĂ©nage Ă trois of fist fights on the underground, shoot outs and a drag race that drifts through Piccadilly Circus. The action is pulsating and over the top but you shouldnât care in the least about that. What were you expecting the film to do? Each vehicular sequence is more mind bending than the next.
Take the opening chase for example. A modified F1 style car pursued by Toretto and his crew as well as local police weaves its way through the streets with the ability to flip oncoming cars. Justin Lin who directed the last four films is well in control and more than happy to up the action.
Fast and Furious 6 is guilty of plot holes, but these will only be deconstructed by people who have nothing better to do. That said, even I was left wondering what distance the longest runway in the world was? There is a good level of humour with Tyrese Gibsonâs Roman providing much of the light heartedness that the film needed. Letâs face it The Avengers had the same level of action and humour mixed and that seemed to work.
One of the dangers for this was having a cast that was pretty extensive, regrouping the team meant that there was jostling for position. But on the whole everyone has their time to shine and no one is really cast to the shadows. Evans does a good job as the main antagonist and Gina Carano also proves her worth after the abject Haywire a few years back.
Fast and Furious 7 takes place back in LA after the events of this film and has a teasing post credit sequence that will bait those fans to come back once again. James Wan steps into the directors chair for the seventh film switching from the comfort of the horror genre. I found Fast and Furious 6 to be a highly entertaining film, and youâll need to check your brain in at the door. To quote a clichĂ© it âdoes what it says on the tinâ, and doesnât take itself too seriously.
After the opening credits montage, agent Hobbs (Johnson) comes knocking. His offer requires all the team converge once again, this time they have to track down and capture a ruthless mercenary called Owen Shaw (Luke Evans). Hobbs and Toretto have to stand side by side working together to take down the villain. Letty of course has returned and is working for the bad guys but has no memory of her past life. If youâre a true fan then the plot will reveal more back story and as it turns out part six is practically a sequel to part four with past villains announcing a few home truths.
The film and action is set in the heart of London which, includes a car chase that defies belief, a mĂ©nage Ă trois of fist fights on the underground, shoot outs and a drag race that drifts through Piccadilly Circus. The action is pulsating and over the top but you shouldnât care in the least about that. What were you expecting the film to do? Each vehicular sequence is more mind bending than the next.
Take the opening chase for example. A modified F1 style car pursued by Toretto and his crew as well as local police weaves its way through the streets with the ability to flip oncoming cars. Justin Lin who directed the last four films is well in control and more than happy to up the action.
Fast and Furious 6 is guilty of plot holes, but these will only be deconstructed by people who have nothing better to do. That said, even I was left wondering what distance the longest runway in the world was? There is a good level of humour with Tyrese Gibsonâs Roman providing much of the light heartedness that the film needed. Letâs face it The Avengers had the same level of action and humour mixed and that seemed to work.
One of the dangers for this was having a cast that was pretty extensive, regrouping the team meant that there was jostling for position. But on the whole everyone has their time to shine and no one is really cast to the shadows. Evans does a good job as the main antagonist and Gina Carano also proves her worth after the abject Haywire a few years back.
Fast and Furious 7 takes place back in LA after the events of this film and has a teasing post credit sequence that will bait those fans to come back once again. James Wan steps into the directors chair for the seventh film switching from the comfort of the horror genre. I found Fast and Furious 6 to be a highly entertaining film, and youâll need to check your brain in at the door. To quote a clichĂ© it âdoes what it says on the tinâ, and doesnât take itself too seriously.