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Recovery: Freedom From Our Addictions
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"My qualification for writing this book is not that I am better than you, it's that I am worse. I am...
Biography memoir self-help
Dean (6921 KP) rated Death on the Nile (2022) in Movies
Feb 27, 2022
Cinematography (1 more)
Very stylish
A decent remake
I'm a big Agatha Christie fan and the Ustinov version of this from '78 along with @Evil Under the Sun (1982) are two of my favourite films of her stories.
This doesn't differ too much in terms of the core story or characters. We do get a little look at Poirot's past. It looks stunning, the cinematography stands out as well as the opulence. From the Fashion, the steamer boat, all the details show the class of high luxury and wealth of the lead characters.
It's a bit raunchy as well to make it a bit more modern.
Some of cast are unrecognisable, Russell Brand looking very different. French and Saunders do seem a bit miscast though.
Some of details of the plot did seem a bit more rushed in this version. Also lacking a bit of charm of the original. Still a good effort and better than Murder on the Orient Express I felt.
This doesn't differ too much in terms of the core story or characters. We do get a little look at Poirot's past. It looks stunning, the cinematography stands out as well as the opulence. From the Fashion, the steamer boat, all the details show the class of high luxury and wealth of the lead characters.
It's a bit raunchy as well to make it a bit more modern.
Some of cast are unrecognisable, Russell Brand looking very different. French and Saunders do seem a bit miscast though.
Some of details of the plot did seem a bit more rushed in this version. Also lacking a bit of charm of the original. Still a good effort and better than Murder on the Orient Express I felt.
JT (287 KP) rated Despicable Me (2010) in Movies
Mar 10, 2020
I've never really gone in for animation much, some people might find that hard to believe given the calibre of films that have been made over the years. So after everyone raved over this it was the glimpse of the army of yellow minions that first drew me in.
There are enough voice talents on show here to make this a must see film, Steve Carell, Jason Segel and Russell Brand all do a brilliant job of taking the two biggest villains in the world and putting them on a collision course with each other.
Gru (Carell) regards himself as the world’s greatest supervillain, but when he meets his match in the form of the overly exuberant Vector (Segel), Gru needs a new plan that will put him back on top of the baddie elite. The plan being to steal the moon, with the help of his band of very funny, and at times show stealing minions he also needs to enlist the help of three small orphans whom he dislikes the minute he sets eyes on them.
However, as with most animation the film has heart warming moments that will leave you feeling soft inside, and its a feeling that only this genre can muster up. The stand out oddly for me was Gru’s aging side kick Dr. Nefario (Brand) whose dry wit was right up my street, and made for a few decent laughs. It’s predictable but then what animated film isn’t, this one is yet again for adults and kids a like and both will enjoy it in their own special way.
There are enough voice talents on show here to make this a must see film, Steve Carell, Jason Segel and Russell Brand all do a brilliant job of taking the two biggest villains in the world and putting them on a collision course with each other.
Gru (Carell) regards himself as the world’s greatest supervillain, but when he meets his match in the form of the overly exuberant Vector (Segel), Gru needs a new plan that will put him back on top of the baddie elite. The plan being to steal the moon, with the help of his band of very funny, and at times show stealing minions he also needs to enlist the help of three small orphans whom he dislikes the minute he sets eyes on them.
However, as with most animation the film has heart warming moments that will leave you feeling soft inside, and its a feeling that only this genre can muster up. The stand out oddly for me was Gru’s aging side kick Dr. Nefario (Brand) whose dry wit was right up my street, and made for a few decent laughs. It’s predictable but then what animated film isn’t, this one is yet again for adults and kids a like and both will enjoy it in their own special way.
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Despicable Me 3 (2017)
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Chris Sawin (602 KP) rated Get Him to the Greek (2010) in Movies
Jun 22, 2019 (Updated Jun 23, 2019)
Aaron Green (Jonah Hill) works as a record company intern at Pinnacle Records. His boss Sergio Roma (Sean "Diddy" Combs) is wanting a "game changer" that will help turn the company around. Aaron pitches the idea that since it's the ten year anniversary of out of control British rock star Aldous Snow (Russell Brand) performing at the Greek Theatre in Los Angeles, he believes that the company can make a serious profit from not only a return performance, but by re-releasing his back catalog, as well. Sergio eventually goes for the idea and Aaron flies out to London to bring Aldous back to America to prepare for the show. Unfortunately for him, Aldous Snow's lifestyle tends to rub off on him and turns his life upside down in the process. As Aaron deals with some relationship issues and has his hands full trying to keep Aldous sober, Aldous has some relationship problems of his own and begins to wonder if there's more to life than sex, drugs, and rock and roll. It seems like a moot point by the time the Greek Theater show sells out as Aaron may not have a girlfriend or a job by the time the show begins and Aldous speaks of skipping the gig altogether.
I was a pretty big fan of Forgetting Sarah Marshall, but that was mostly due to the Dracula rock opera and Russell Brand's outrageous portrayal of Aldous Snow. So Get Him to the Greek immediately grabbed my attention since it was announced as a spinoff sequel, but I became excited when reviews trickled in saying it was raunchier than its predecessor. Is more Aldous Snow really a good thing though? The short answer is yes. Yes it is.
Russell Brand is really the backbone of the film. Aldous Snow's rock star lifestyle provides his character with a sense of unpredictability as his outlandish outbursts and struggle with more adult decisions is enticing and at often times hilarious. Jonah Hill's screen presence is just as important to the film. His usual quick witted and delightfully explicit sense of humor in addition to his chemistry with Russell Brand is really a spectacular combination. Sean Combs manages to steal quite a few scenes, as well. His theory on screwing with people's heads and his one-liners ("You cannot out run me! I am black!") were surprisingly hysterical. The music in the film is really the key ingredient that brings the entire film together though. Fictional band Infant Sorrow delivers some pretty fantastic and humorously obscene ballads that are better than they should be for a film like this. I liked "Furry Walls" so much that I downloaded the soundtrack as soon as I returned from the theater.
The film's strongest scenes don't seem to last as long as they should though. The R-rated comedy seems to shine brightest when things get a bit more serious as the main characters come off as being more human, more realistic, and easier to relate to during those situations. Unfortunately those scenes really only begin to transpire in the last 15-20 minutes of the film and even though the point is made, I can't help but think of how a great film could have been even better if those events had occurred earlier on to have an even bigger impact. The biggest issue for me was that most of the scenes in the trailers were either not in the film at all or were different takes from scenes that actually made it into the theatrical version of the film. That means the DVD will probably be unrated and have x amount of extra footage not seen in theaters, but at least 50% of the scenes you're looking forward to were probably left on the cutting room floor which is just disappointing.
Get Him to the Greek may very well be this year's The Hangover, but isn't quite as laugh out loud funny as the 2009 comedy blockbuster. Get Him to the Greek is a wonderfully amusing comedy with a highly entertaining soundtrack that effectively gives a little more depth to the already remarkable for all the wrong reasons character Aldous Snow, but unfortunately doesn't live up to the reputation of being the uproarious riot that everyone seems to be making it out to be. Nevertheless, it is still an extremely solid comedy that comes highly recommended from me.
I was a pretty big fan of Forgetting Sarah Marshall, but that was mostly due to the Dracula rock opera and Russell Brand's outrageous portrayal of Aldous Snow. So Get Him to the Greek immediately grabbed my attention since it was announced as a spinoff sequel, but I became excited when reviews trickled in saying it was raunchier than its predecessor. Is more Aldous Snow really a good thing though? The short answer is yes. Yes it is.
Russell Brand is really the backbone of the film. Aldous Snow's rock star lifestyle provides his character with a sense of unpredictability as his outlandish outbursts and struggle with more adult decisions is enticing and at often times hilarious. Jonah Hill's screen presence is just as important to the film. His usual quick witted and delightfully explicit sense of humor in addition to his chemistry with Russell Brand is really a spectacular combination. Sean Combs manages to steal quite a few scenes, as well. His theory on screwing with people's heads and his one-liners ("You cannot out run me! I am black!") were surprisingly hysterical. The music in the film is really the key ingredient that brings the entire film together though. Fictional band Infant Sorrow delivers some pretty fantastic and humorously obscene ballads that are better than they should be for a film like this. I liked "Furry Walls" so much that I downloaded the soundtrack as soon as I returned from the theater.
The film's strongest scenes don't seem to last as long as they should though. The R-rated comedy seems to shine brightest when things get a bit more serious as the main characters come off as being more human, more realistic, and easier to relate to during those situations. Unfortunately those scenes really only begin to transpire in the last 15-20 minutes of the film and even though the point is made, I can't help but think of how a great film could have been even better if those events had occurred earlier on to have an even bigger impact. The biggest issue for me was that most of the scenes in the trailers were either not in the film at all or were different takes from scenes that actually made it into the theatrical version of the film. That means the DVD will probably be unrated and have x amount of extra footage not seen in theaters, but at least 50% of the scenes you're looking forward to were probably left on the cutting room floor which is just disappointing.
Get Him to the Greek may very well be this year's The Hangover, but isn't quite as laugh out loud funny as the 2009 comedy blockbuster. Get Him to the Greek is a wonderfully amusing comedy with a highly entertaining soundtrack that effectively gives a little more depth to the already remarkable for all the wrong reasons character Aldous Snow, but unfortunately doesn't live up to the reputation of being the uproarious riot that everyone seems to be making it out to be. Nevertheless, it is still an extremely solid comedy that comes highly recommended from me.
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LeftSideCut (3778 KP) rated Death on the Nile (2022) in Movies
Feb 15, 2022
To start with, there's only so much you can hate on an Agatha Christie adaption. The film could be torrid tripe, but there's still a particular brand of intrigue which always comes with one of her whodunits. This latest re-telling of Death on the Nile just about scrapes by, mainly thanks to its second half, and that aforementioned Christie narrative, but sadly, not much else.
There's glimpses of something good there. Kenneth Branagh can be hit or miss as far as I'm concerned. For every Belfast (soaringly wonderful) there's an Artemis Fowl (what I imagine a lobotomy feels like). This is somewhere in the middle. There are moments of promise sprinkled here and there, but they struggle to break through all the bloated hot air that is draped over everything.
All of the characters are ridiculous. I get that's part of it, but it just falls flat here. It's hard to enjoy comic relief when everyone is comic relief. Gal Gadot seems like she is half-arsing every line. Russell Brand feels jarringly out of place. I traditionally enjoy French & Saunders but they also feel alien in every scene they're in. I know this shouldn't really impact my view, but Armie Hammer look like he just wants to eat everyone he talks to. Even the usually reliable Annette Benning comes across completely disinterested. There's no chemistry anywhere, and it all just feels a bit odd. Branagh is pretty great as Poirot to his credit. He just about holds proceedings together along with Sophie Okonedo, and they both manage to inject some charisma when things become arduous, which is farily regularly.
A bit of a misfire then, but not a complete disaster. I can firmly file Death on the Nile under "films I don't really like, but would probably watch again if it was on TV, or maybe on Christmas day at my Mums house".
There's glimpses of something good there. Kenneth Branagh can be hit or miss as far as I'm concerned. For every Belfast (soaringly wonderful) there's an Artemis Fowl (what I imagine a lobotomy feels like). This is somewhere in the middle. There are moments of promise sprinkled here and there, but they struggle to break through all the bloated hot air that is draped over everything.
All of the characters are ridiculous. I get that's part of it, but it just falls flat here. It's hard to enjoy comic relief when everyone is comic relief. Gal Gadot seems like she is half-arsing every line. Russell Brand feels jarringly out of place. I traditionally enjoy French & Saunders but they also feel alien in every scene they're in. I know this shouldn't really impact my view, but Armie Hammer look like he just wants to eat everyone he talks to. Even the usually reliable Annette Benning comes across completely disinterested. There's no chemistry anywhere, and it all just feels a bit odd. Branagh is pretty great as Poirot to his credit. He just about holds proceedings together along with Sophie Okonedo, and they both manage to inject some charisma when things become arduous, which is farily regularly.
A bit of a misfire then, but not a complete disaster. I can firmly file Death on the Nile under "films I don't really like, but would probably watch again if it was on TV, or maybe on Christmas day at my Mums house".