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Gareth von Kallenbach (980 KP) rated Us (2019) in Movies
Jul 2, 2019
We’ve all heard that somewhere out in the world there is a true Doppelganger for each and every one of us. An almost exact copy which may not behave the same but would otherwise be indistinguishable from the other. In a common instance a Doppelganger might be a set of identical twins who share the same DNA, or in pop culture references we might look to the definition of a Doppelganger in Dungeons and Dragons, defined as a monstrous humanoid able to change the shape and read the minds of their intended target to mimic them completely. Somewhere in the middle is where Jordan Peele’s latest masterpiece takes us.
The film begins in the mid 80’s, when Michael Jackson’s Thriller is topping the charts and Hands Across America was a very real idea (worth looking up for younger readers who may not even know what I’m talking about). A young Adelaide Wilson is exploring the boardwalk on a beach in Santa Cruz with her parents. When her father is distracted by a game of Whack a’ Mole something draws Adelaide down to the beach where she passes a man holding a sign referencing Jeremiah 11:11, one of the first messages that foreshadows what is to come. On the beach she encounters an empty and sinister looking hall of mirrors attraction. Wandering through the hall of mirrors a young Adelaide encounters a girl in the mirror, an exact duplicate of herself whose encounter is so traumatic that it leaves her unable to speak.
The film transitions to present day where the now adult Adelaide (Lupita Nyong’o) is traveling with her husband Gabriel (Winston Duke) and her two children Zora (Shahadi Wright Joseph) and youngest son Jason (Evan Alex) to her parents’ home near the beach in Santa Cruz. Adelaide has resisted going back to the very same boardwalk where she had encountered her doppelganger as a young child. With her husband and children pressing her to go to the beach, she reluctantly agrees as long as they promise to be home before dark. The day at the beach is relatively uneventful until it is nearing time to go home and the family has lost sight of young Jason. Adelaide in a panic frantically searches for him, finally finding him returning from the bathroom.
The incident, while minor, convinces Adelaide that they should never have come back and wants to leave immediately. Various subtle “coincidences” occur that leave her feeling as though a black cloud hangs over her and a sense of dread that something terrible is about to happen. Before the family turns in for the evening, Jason sees “A family” at the edge of their driveway. Gabriel attempts to get to the bottom of who these mysterious visitors are, only for a night of unimaginable terror to ensue.
Us takes queues from several other movie types, The Strangers, Night of the Living Dead and Invasion of the Body Snatchers mashing them together to weave its frightening (and often funny) tale. It takes a little time to gain momentum, but once it does It never once lets off the gas. While at first it seems nothing more than a home invasion from characters who look exactly like the Wilson family, it quickly grows into something substantially more terrifying. The backdrop varies between a somewhat isolated house in the woods, to the bustling beach, giving a sense of isolation even at the most crowded of places. The boardwalk is a place that is both wonderous and terrifying at the same time, reminiscent of the early scenes in the 80’s classic The Lost Boys. While lacking in both clowns or vampires, it holds its own secrets (and terrors).
Us is a movie that is unlike any other and is refreshing when stacked against similar fright films that have been released recently. If you are a fan of Jordan Peele’s Get Out, you will find a lot to like here as well. It maintains its dark humor without ever going over board and has plenty of thrills and scares to keep you on your toes at all times. It’s not a movie that will keep you up all night hiding under your covers, but it may cause you to rethink your next vacation to the beach or the boardwalk. In the end, I feel this is another film that is sure to become a cult classic, enjoyable for fans of the genre.
The film begins in the mid 80’s, when Michael Jackson’s Thriller is topping the charts and Hands Across America was a very real idea (worth looking up for younger readers who may not even know what I’m talking about). A young Adelaide Wilson is exploring the boardwalk on a beach in Santa Cruz with her parents. When her father is distracted by a game of Whack a’ Mole something draws Adelaide down to the beach where she passes a man holding a sign referencing Jeremiah 11:11, one of the first messages that foreshadows what is to come. On the beach she encounters an empty and sinister looking hall of mirrors attraction. Wandering through the hall of mirrors a young Adelaide encounters a girl in the mirror, an exact duplicate of herself whose encounter is so traumatic that it leaves her unable to speak.
The film transitions to present day where the now adult Adelaide (Lupita Nyong’o) is traveling with her husband Gabriel (Winston Duke) and her two children Zora (Shahadi Wright Joseph) and youngest son Jason (Evan Alex) to her parents’ home near the beach in Santa Cruz. Adelaide has resisted going back to the very same boardwalk where she had encountered her doppelganger as a young child. With her husband and children pressing her to go to the beach, she reluctantly agrees as long as they promise to be home before dark. The day at the beach is relatively uneventful until it is nearing time to go home and the family has lost sight of young Jason. Adelaide in a panic frantically searches for him, finally finding him returning from the bathroom.
The incident, while minor, convinces Adelaide that they should never have come back and wants to leave immediately. Various subtle “coincidences” occur that leave her feeling as though a black cloud hangs over her and a sense of dread that something terrible is about to happen. Before the family turns in for the evening, Jason sees “A family” at the edge of their driveway. Gabriel attempts to get to the bottom of who these mysterious visitors are, only for a night of unimaginable terror to ensue.
Us takes queues from several other movie types, The Strangers, Night of the Living Dead and Invasion of the Body Snatchers mashing them together to weave its frightening (and often funny) tale. It takes a little time to gain momentum, but once it does It never once lets off the gas. While at first it seems nothing more than a home invasion from characters who look exactly like the Wilson family, it quickly grows into something substantially more terrifying. The backdrop varies between a somewhat isolated house in the woods, to the bustling beach, giving a sense of isolation even at the most crowded of places. The boardwalk is a place that is both wonderous and terrifying at the same time, reminiscent of the early scenes in the 80’s classic The Lost Boys. While lacking in both clowns or vampires, it holds its own secrets (and terrors).
Us is a movie that is unlike any other and is refreshing when stacked against similar fright films that have been released recently. If you are a fan of Jordan Peele’s Get Out, you will find a lot to like here as well. It maintains its dark humor without ever going over board and has plenty of thrills and scares to keep you on your toes at all times. It’s not a movie that will keep you up all night hiding under your covers, but it may cause you to rethink your next vacation to the beach or the boardwalk. In the end, I feel this is another film that is sure to become a cult classic, enjoyable for fans of the genre.
Movie Metropolis (309 KP) rated Deadpool (2016) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
A Valentine's weekend wonder
It’s hard to believe that one of Marvel’s hottest properties – Deadpool, has taken this long to get to the silver screen. Of course, we can always cast our minds back to 2009’s disastrous X-Men Origins: Wolverine. But for goodness sake, let’s not.
Here, after much petitioning from fans and Reynolds himself, Deadpool finally gets his own origins story, directed by Tim Miller in his debut feature film. But was it worth the wait?
Ryan Reynolds returns as a much more faithful representation of Wade Wilson, a small-time mercenary going through the motions until a shock cancer diagnosis makes him rethink his life – and career prospects, at the cost of losing touch with his love interest, Vanessa, played by the incredibly beautiful Morena Baccarin.
Naturally, a villain in the shape of Ed Skrein’s Ajax, provides the film with its main opposition, though a few other one-dimensional characters appear alongside him every so often. Unfortunately, they make little impact throughout the course of Deadpool and even Skrein suffers next to Reynolds potty-mouthed Wilson.
MV5BMjE3MzI3NzAwOV5BMl5BanBnXkFtZTgwNDc2Nzc5NzE@._V1__SX1303_SY615_
Brianna Hildebrand, Ryan Reynolds and Stefan Kapicic. Photo by 20th Century Fox.
And ta da! The red-suited antihero is born, much like any other Marvel origins story in fact. However, this is most definitely not your typical superhero flick. From gratuitous sex, violence, swearing and drug references, not to mention the character’s trademark breaking of the fourth wall, it’s all here – and you know what, it’s a breath of fresh air.
Reynolds is absolutely born to play this character and is the best we have seen him in years. Gone is the romantic comedy slop or stereotypical action hero he has portrayed over the last few years and in their place is a witty, incredibly self-aware persona that is one of Marvel’s greatest assets.
Elsewhere, the direction is so confident, and the design choices so slick, it’s difficult to fully comprehend that this is Tim Miller’s first feature film. From a brilliant set of opening credits that poke fun at the narcissism of Hollywood, to some excellent commentary on the superhero genre itself, it’s very cocky indeed and very very funny.
Naturally, not every gag lands on target, but that’s no surprise given that even the best comedies suffer from this. There’s also a lack of development beyond the titular character that hurts the film’s more romantic side, and with Deadpool’s lengthy running time, this could’ve been avoided somewhat.
Other than that, it’s pretty much spot on. Ryan Reynolds looks like he’s having a blast in front of the camera, and Tim Miller looks like he’s having a great time behind it. What about the old Fox and Marvel rivalry chestnut? Well, there’s not even a whiff of it – apart from a sarcastic remark that is.
Overall, Deadpool was a gamble and with Fox’s less than stellar reputation for fashioning decent films out of Marvel property, a huge one at that. But, against all the odds it has paid off spectacularly.
Keep this to yourselves, but it could quite possibly be the best comic-book adaptation to date.
https://moviemetropolis.net/2016/02/13/a-valentines-weekend-wonder-deadpool-review/
Here, after much petitioning from fans and Reynolds himself, Deadpool finally gets his own origins story, directed by Tim Miller in his debut feature film. But was it worth the wait?
Ryan Reynolds returns as a much more faithful representation of Wade Wilson, a small-time mercenary going through the motions until a shock cancer diagnosis makes him rethink his life – and career prospects, at the cost of losing touch with his love interest, Vanessa, played by the incredibly beautiful Morena Baccarin.
Naturally, a villain in the shape of Ed Skrein’s Ajax, provides the film with its main opposition, though a few other one-dimensional characters appear alongside him every so often. Unfortunately, they make little impact throughout the course of Deadpool and even Skrein suffers next to Reynolds potty-mouthed Wilson.
MV5BMjE3MzI3NzAwOV5BMl5BanBnXkFtZTgwNDc2Nzc5NzE@._V1__SX1303_SY615_
Brianna Hildebrand, Ryan Reynolds and Stefan Kapicic. Photo by 20th Century Fox.
And ta da! The red-suited antihero is born, much like any other Marvel origins story in fact. However, this is most definitely not your typical superhero flick. From gratuitous sex, violence, swearing and drug references, not to mention the character’s trademark breaking of the fourth wall, it’s all here – and you know what, it’s a breath of fresh air.
Reynolds is absolutely born to play this character and is the best we have seen him in years. Gone is the romantic comedy slop or stereotypical action hero he has portrayed over the last few years and in their place is a witty, incredibly self-aware persona that is one of Marvel’s greatest assets.
Elsewhere, the direction is so confident, and the design choices so slick, it’s difficult to fully comprehend that this is Tim Miller’s first feature film. From a brilliant set of opening credits that poke fun at the narcissism of Hollywood, to some excellent commentary on the superhero genre itself, it’s very cocky indeed and very very funny.
Naturally, not every gag lands on target, but that’s no surprise given that even the best comedies suffer from this. There’s also a lack of development beyond the titular character that hurts the film’s more romantic side, and with Deadpool’s lengthy running time, this could’ve been avoided somewhat.
Other than that, it’s pretty much spot on. Ryan Reynolds looks like he’s having a blast in front of the camera, and Tim Miller looks like he’s having a great time behind it. What about the old Fox and Marvel rivalry chestnut? Well, there’s not even a whiff of it – apart from a sarcastic remark that is.
Overall, Deadpool was a gamble and with Fox’s less than stellar reputation for fashioning decent films out of Marvel property, a huge one at that. But, against all the odds it has paid off spectacularly.
Keep this to yourselves, but it could quite possibly be the best comic-book adaptation to date.
https://moviemetropolis.net/2016/02/13/a-valentines-weekend-wonder-deadpool-review/
BankofMarquis (1832 KP) rated Casablanca (1942) in Movies
Feb 13, 2019
A classic in every sense of the word
"Of all the gin joints in all the towns, in all the world, she had to walk into mine."
If there was only 1 movie that could be shown to show off "classic", old time Hollywood of the 1930's, '40's and early '50s, look no further than Michael Curtiz' 1942 classic CASABLANCA. While well known for the performances of the leads, the multiple quoted lines, Sam singing AS TIME GOES BY and the iconic ending, this film also is a time capsule to a Hollywood of another year - one that just doesn't exist today.
Starring the great Humphrey Bogart in an Academy Award nominated performance (inexplicably, losing to Paul Lukas for WATCH ON THE RHINE), CASABLANCA tells the tale of Rick Blaine the owner/operator of "Rick's Place" a bar in Casablanca, Morocco in the early days of WWII. He is world-weary, beaten and cynical and is well known as someone who can get things done (for a price) but also one who will not stick his neck out for anyone. When a couple on the run from the Nazi's (Paul Henreid, Ingrid Bergman) enter's Rick's Place, Blaine (for reasons that are revealed in the film) decides to help.
"Here's looking at your kid."
Bogart is marvelous as Blaine, you can see every inch of his world-weariness on his well-worn, craggy face. He is perfectly cast as Rick and his mannerisms and vocal patterns depict a heaviness within. Bogart is often criticized for his lack of acting talent - nothing could be further from the truth here. He is perfectly paired with Bergman as Ilse - a former love of Rick's, who is now the wife of Freedom Fighter Victor Laszlo (Henreid). There is real chemistry between Bogart and Bergman in this film and you can tell that they are former lovers that still has a flame burning inside.
"We'll always have Paris."
But it's not just the leads who are terrific in this, it's the "who's who" of character actors that make up the Supporting Cast that really brings this film to life. From Peter Lorre to Sydney Greenstreet to Conrad Veidt to S.Z. Sakall to Dooley Wilson as Sam (who plays and sings AS TIME GOES BY), all bring interesting faces and characters to Casablanca (and Rick's Place) but the standout is Claude Rains (nominated for Best Supporting Actor - losing, inexplicably, to Charles Coburn in THE MORE THE MERRIER) as Louis, the corrupt Police Captain of Casablanca who becomes an uneasy ally of Rick's. Did I say that Bogart and Bergman had good chemistry? Check out the chemistry between Bogart and Rains, there was talk of a sequel to Casablance featuring these two - I, for one, would love to have seen that buddy flick.
Director Michael Curtiz won an Oscar for his work - and it is richly deserved. Nary a shot is wasted on this film, each picture a rich black and white portrait. It is interesting to note that this entire film was shot in California (not Casablanca), mostly on the Warner Brothers lot, but Curtiz was able to give the look and (more importantly) the feel of the place through the sets, costumes, lighting and atmosphere.
But it's the words that these characters got to say that really brought home the feel and atmosphere of the time, so credit needs to go to Screenwriters Julius and Phillip Epstein as well as Howard Koch who won Oscars for their work here. This is a masterful, classic work. One that stands up to this day. If you haven't seen this film in awhile, do yourself a favor and check it out - you'll be glad you did.
"Louie, I think this is the beginning of a beautiful friendship."
Letter Grade: A+
A rare 10 (out of 10) stars and you can take that to the Bank(ofMarquis)
If there was only 1 movie that could be shown to show off "classic", old time Hollywood of the 1930's, '40's and early '50s, look no further than Michael Curtiz' 1942 classic CASABLANCA. While well known for the performances of the leads, the multiple quoted lines, Sam singing AS TIME GOES BY and the iconic ending, this film also is a time capsule to a Hollywood of another year - one that just doesn't exist today.
Starring the great Humphrey Bogart in an Academy Award nominated performance (inexplicably, losing to Paul Lukas for WATCH ON THE RHINE), CASABLANCA tells the tale of Rick Blaine the owner/operator of "Rick's Place" a bar in Casablanca, Morocco in the early days of WWII. He is world-weary, beaten and cynical and is well known as someone who can get things done (for a price) but also one who will not stick his neck out for anyone. When a couple on the run from the Nazi's (Paul Henreid, Ingrid Bergman) enter's Rick's Place, Blaine (for reasons that are revealed in the film) decides to help.
"Here's looking at your kid."
Bogart is marvelous as Blaine, you can see every inch of his world-weariness on his well-worn, craggy face. He is perfectly cast as Rick and his mannerisms and vocal patterns depict a heaviness within. Bogart is often criticized for his lack of acting talent - nothing could be further from the truth here. He is perfectly paired with Bergman as Ilse - a former love of Rick's, who is now the wife of Freedom Fighter Victor Laszlo (Henreid). There is real chemistry between Bogart and Bergman in this film and you can tell that they are former lovers that still has a flame burning inside.
"We'll always have Paris."
But it's not just the leads who are terrific in this, it's the "who's who" of character actors that make up the Supporting Cast that really brings this film to life. From Peter Lorre to Sydney Greenstreet to Conrad Veidt to S.Z. Sakall to Dooley Wilson as Sam (who plays and sings AS TIME GOES BY), all bring interesting faces and characters to Casablanca (and Rick's Place) but the standout is Claude Rains (nominated for Best Supporting Actor - losing, inexplicably, to Charles Coburn in THE MORE THE MERRIER) as Louis, the corrupt Police Captain of Casablanca who becomes an uneasy ally of Rick's. Did I say that Bogart and Bergman had good chemistry? Check out the chemistry between Bogart and Rains, there was talk of a sequel to Casablance featuring these two - I, for one, would love to have seen that buddy flick.
Director Michael Curtiz won an Oscar for his work - and it is richly deserved. Nary a shot is wasted on this film, each picture a rich black and white portrait. It is interesting to note that this entire film was shot in California (not Casablanca), mostly on the Warner Brothers lot, but Curtiz was able to give the look and (more importantly) the feel of the place through the sets, costumes, lighting and atmosphere.
But it's the words that these characters got to say that really brought home the feel and atmosphere of the time, so credit needs to go to Screenwriters Julius and Phillip Epstein as well as Howard Koch who won Oscars for their work here. This is a masterful, classic work. One that stands up to this day. If you haven't seen this film in awhile, do yourself a favor and check it out - you'll be glad you did.
"Louie, I think this is the beginning of a beautiful friendship."
Letter Grade: A+
A rare 10 (out of 10) stars and you can take that to the Bank(ofMarquis)
Solomon Wendt (30 KP) rated Ready Player One (2018) in Movies
May 5, 2019
Nostalgia (1 more)
Video Games
This movie is based off of the book of the same name and matches it for most of the major plot points. In short, the story follows Wade Wilson, an egg hunter (Gunter for short), on the search for a virtual Easter egg that unlock control over the virtual reality known as The Oasis. In a scavenger hunt fashion, there are clues and trials that Wade must figure out and overcome in his attempt at such a coveted prize.
The film follows the major points of the book, but does change the clues and trials so its not the same exact story, which I feel is the purpose of film adaptations. However, as with many sci-fi films, majority of interest here is of the world that is constructed which is quickly glossed over. To be fair, how much more do we really need to than people are addicted to virtual reality and want to have more power in it? But the issue is the sort of background that is left out that can leave the soley film consumers a bit confused or leave more questions. As for the actual content of the film, it is a real nostalgia trip for those who enjoyed 80's pop culture and tries to include more recent fandoms such as Overwatch and Halo. Sadly, the viewer doesn't really take part in the treasure hunt as mystery and adventure films try to do. The clues are obscure and related to the creator of the hunt, so there isn't much guessing at what a clue means until it is flat out explained.
However, with the audience participation aside, it is a good sci-fi adventure that utilizes a good blend of motion capture technology and cgi work. It explore a good variety of worlds, environments, and character models that make this film noteworthy of that aspect of production. It leaves quite the impression and I know I looked up how much virtual reality cost after I was done.
In short, it was a good overall production in terms of tools utilized, but lacked a little bit of story in an attempt to cram a different world and rule set while trying to make a complete adventure and story arc. I recommend viewing it at least once, but doesn't really need to be viewed more than that.
The film follows the major points of the book, but does change the clues and trials so its not the same exact story, which I feel is the purpose of film adaptations. However, as with many sci-fi films, majority of interest here is of the world that is constructed which is quickly glossed over. To be fair, how much more do we really need to than people are addicted to virtual reality and want to have more power in it? But the issue is the sort of background that is left out that can leave the soley film consumers a bit confused or leave more questions. As for the actual content of the film, it is a real nostalgia trip for those who enjoyed 80's pop culture and tries to include more recent fandoms such as Overwatch and Halo. Sadly, the viewer doesn't really take part in the treasure hunt as mystery and adventure films try to do. The clues are obscure and related to the creator of the hunt, so there isn't much guessing at what a clue means until it is flat out explained.
However, with the audience participation aside, it is a good sci-fi adventure that utilizes a good blend of motion capture technology and cgi work. It explore a good variety of worlds, environments, and character models that make this film noteworthy of that aspect of production. It leaves quite the impression and I know I looked up how much virtual reality cost after I was done.
In short, it was a good overall production in terms of tools utilized, but lacked a little bit of story in an attempt to cram a different world and rule set while trying to make a complete adventure and story arc. I recommend viewing it at least once, but doesn't really need to be viewed more than that.
Gareth von Kallenbach (980 KP) rated Cars 2 (2011) in Movies
Aug 7, 2019
Producer Brad Lewis (Ratatouille)steps into the director’s chair for this sequel that follows racing legend Lightning McQueen (Owen Wilson) and his trusty sidekick, Mater (Larry the Cable Guy).
Passports are secured and ready to take part in the biggest race on the planet, Lightning and his freinds prepare to take on the best racers in the world. As the first-ever World Grand Prix approaches, cars from every continent prepare for the ultimate competition. But who will have what it takes to become the fastest car on the planet? Just as Lightning McQueen edges up to the starting line, however, his old pal Mater gets sidetracked on a top-secret spy mission that takes him from Japan to Europe. Thankfully Mater’s friends are always willing to lend a helping wheel, and as the race gets under way, everyone shifts into high gear to help out an old friend.
“Cars 2” It’s James Bond meets “Fast and the Furious” and Full of ACTION! None of the characters from the first film are forgotten Of course Tow Mater stands out the most for his hilarious ways of a small town country tow truck who isn’t afraid to do or say anything! Mater is as FUNNY as can be and shares a range of emotions with Lightning . The bond between Lightning McQueen and Tow mater “Mater” are classic as for Mater he encounters a reality check when he’s able to understand how others view him for the first time out of Radiator Springs. When Mater is mistaken for someone else a whole new world of adventure is opened up for him which causes him to grow.
I saw the film with an all ages group in the theater and I observed that everybody was enjoying it as well.
Watching this movie in 3D really made you feel like you were there! It’s funny when computer graphics of animation are realistic enough to make you become part of the story. It is amazing how much technology has changed from when I first encountered Disney animation in the 1970’s.
If you enjoyed the first Cars movie your sure to enjoy this one too! It is a must see! Never a dull moment. A Wonderful start to the Summer of family Movies.
Passports are secured and ready to take part in the biggest race on the planet, Lightning and his freinds prepare to take on the best racers in the world. As the first-ever World Grand Prix approaches, cars from every continent prepare for the ultimate competition. But who will have what it takes to become the fastest car on the planet? Just as Lightning McQueen edges up to the starting line, however, his old pal Mater gets sidetracked on a top-secret spy mission that takes him from Japan to Europe. Thankfully Mater’s friends are always willing to lend a helping wheel, and as the race gets under way, everyone shifts into high gear to help out an old friend.
“Cars 2” It’s James Bond meets “Fast and the Furious” and Full of ACTION! None of the characters from the first film are forgotten Of course Tow Mater stands out the most for his hilarious ways of a small town country tow truck who isn’t afraid to do or say anything! Mater is as FUNNY as can be and shares a range of emotions with Lightning . The bond between Lightning McQueen and Tow mater “Mater” are classic as for Mater he encounters a reality check when he’s able to understand how others view him for the first time out of Radiator Springs. When Mater is mistaken for someone else a whole new world of adventure is opened up for him which causes him to grow.
I saw the film with an all ages group in the theater and I observed that everybody was enjoying it as well.
Watching this movie in 3D really made you feel like you were there! It’s funny when computer graphics of animation are realistic enough to make you become part of the story. It is amazing how much technology has changed from when I first encountered Disney animation in the 1970’s.
If you enjoyed the first Cars movie your sure to enjoy this one too! It is a must see! Never a dull moment. A Wonderful start to the Summer of family Movies.
You Might Be Smiling Now... by The Just Joans
Album Watch
Cult Scottish miserabilists The Just Joans are delighted to be releasing their first new album in...
rock
Movie Metropolis (309 KP) rated Chappie (2015) in Movies
Jun 11, 2019
A little rough around the edges
District 9 was a tough act to follow for first-time director Neill Blomkamp. His follow up to 2009’s sci-fi sleeper hit was the mediocre Elysium that whilst having a gargantuan budget and the likes of Jodie Foster and Matt Damon, failed on the most basic of levels – storytelling.
Here, Blomkamp returns a little wiser and much richer with Chappie. But does it hark back to the brilliance of District 9?
Chappie follows the story of the titular robot, created by Deon Wilson (Dev Patel), as he grows up in the violent city of Johannesburg. Due to the increasing crime rates, Wilson has created a force of robotic police officers, known as Scouts.
Despite the gritty nature of the film, the cityscapes are stunning with the sweeping shots of the South African metropolis perfectly blended with claustrophobic ruins and towering skyscrapers.
Hugh Jackman stars as ex-soldier Vincent Moore, a man hell bent on proving the capabilities of his own robot, The Moose, even if that means going against the protocols of his employers Tetravaal. Sigourney Weaver also stars as the CEO of the aforementioned corporation.
Unfortunately, side-lining Jackman and to a greater extent Weaver hurts the film. We see Chappie grow from a young child-like robot through to a young adult but Jackman and Weaver only show their faces for very brief moments at a time, though they manage to show their prowess in each scene.
Instead, we are lumbered with real-life pop group Die Antwoord in two roles as Chappie’s ‘mommy’ and ‘daddy’, and despite their decent acting skills and intriguing screen presence, they fail to make as much of an impression as the big names.
Chappie hits home hard and often on just how violent a species we are and the fact that the titular robot doesn’t understand why we can be so cruel only deepens the emotional connection forged for him.
Sharlto Copley, a Blomkamp staple, must be given high praise for crafting such a brilliant cast-member in the motion-captured Chappie. The robot rivals Caesar from Dawn of the Planet of the Apes for sheer realism, and credit must be given to the entire crew for making us feel for a character that has very few human characteristics.
Nevertheless, there is a real issue with the film’s narrative. There are moments of comedic brilliance that are hastily juxtaposed with ones of
sadness and gore, and despite Blomkamp’s best efforts to merge them together, it fails and this becomes increasingly evident in the film’s admittedly exciting finale.
Pacing, a blight that plagued Elysium, is again a problem here. The first 40 minutes of the film drag to such an extent that it feels much longer than its 2 hour running time. This is a huge shame as once it gets going, Chappie rarely lets up until the end credits roll.
Overall, despite not reaching the dizzying heights of the brilliant District 9, director Neill Blomkamp is back on the right track and has crafted a beautifully shot, richly detailed and hugely emotional film – despite his insistence on pushing the most intriguing human characters into the background.
Like the titular character himself, Chappie is charming, if a little rough around the edges and has a lack of story definition, but if you’re a fan of Blomkamp’s work, there’s no reason why you’d be disappointed with what’s on offer.
https://moviemetropolis.net/2015/03/08/a-little-rough-around-the-edges-chappie-review/
Here, Blomkamp returns a little wiser and much richer with Chappie. But does it hark back to the brilliance of District 9?
Chappie follows the story of the titular robot, created by Deon Wilson (Dev Patel), as he grows up in the violent city of Johannesburg. Due to the increasing crime rates, Wilson has created a force of robotic police officers, known as Scouts.
Despite the gritty nature of the film, the cityscapes are stunning with the sweeping shots of the South African metropolis perfectly blended with claustrophobic ruins and towering skyscrapers.
Hugh Jackman stars as ex-soldier Vincent Moore, a man hell bent on proving the capabilities of his own robot, The Moose, even if that means going against the protocols of his employers Tetravaal. Sigourney Weaver also stars as the CEO of the aforementioned corporation.
Unfortunately, side-lining Jackman and to a greater extent Weaver hurts the film. We see Chappie grow from a young child-like robot through to a young adult but Jackman and Weaver only show their faces for very brief moments at a time, though they manage to show their prowess in each scene.
Instead, we are lumbered with real-life pop group Die Antwoord in two roles as Chappie’s ‘mommy’ and ‘daddy’, and despite their decent acting skills and intriguing screen presence, they fail to make as much of an impression as the big names.
Chappie hits home hard and often on just how violent a species we are and the fact that the titular robot doesn’t understand why we can be so cruel only deepens the emotional connection forged for him.
Sharlto Copley, a Blomkamp staple, must be given high praise for crafting such a brilliant cast-member in the motion-captured Chappie. The robot rivals Caesar from Dawn of the Planet of the Apes for sheer realism, and credit must be given to the entire crew for making us feel for a character that has very few human characteristics.
Nevertheless, there is a real issue with the film’s narrative. There are moments of comedic brilliance that are hastily juxtaposed with ones of
sadness and gore, and despite Blomkamp’s best efforts to merge them together, it fails and this becomes increasingly evident in the film’s admittedly exciting finale.
Pacing, a blight that plagued Elysium, is again a problem here. The first 40 minutes of the film drag to such an extent that it feels much longer than its 2 hour running time. This is a huge shame as once it gets going, Chappie rarely lets up until the end credits roll.
Overall, despite not reaching the dizzying heights of the brilliant District 9, director Neill Blomkamp is back on the right track and has crafted a beautifully shot, richly detailed and hugely emotional film – despite his insistence on pushing the most intriguing human characters into the background.
Like the titular character himself, Chappie is charming, if a little rough around the edges and has a lack of story definition, but if you’re a fan of Blomkamp’s work, there’s no reason why you’d be disappointed with what’s on offer.
https://moviemetropolis.net/2015/03/08/a-little-rough-around-the-edges-chappie-review/
Gareth von Kallenbach (980 KP) rated Smurfs: The Lost Village (2017) in Movies
Jul 12, 2019
Rewind back to the 80s, what was every kid doing Saturday mornings? Watching TV and catching up on their latest Smurfs’ adventure; running from the clutches of the evil wizard Gargamel. Who’s only purpose was to catch the Smurfs steal their powers and become the most powerful wizard in the world. I couldn’t help but feel a bit of nostalgia back to my childhood while watching this movie.
The film centered around Smurfette, the only female Smurf, and her struggle to find her place in Smurf Village. Smurfette was not born a Smurf. Gargamel used his magic to turn a piece of clay into Smurfette. His intent was to have his creation, Smurfette, lead him to Smurf village and capture all the Smurfs. Fortunately, Papa Smurf had his own magic and used it to turn Smurfette from evil to good.
Fast forward to present Smurf-day, Smurfette (Demi Lovato) tries her best to fit in, but ultimately has a serious identity crisis. So what does one do when they can’t figure out who they are? They go in search of their own identity. Along the way, Smurfette crosses paths with a strange creature. Eager to find out who this creature is, against Papa Smurf”s request, Smurfette decides to enter the Forbidden Forest. An area no Smurf has even been allowed to visit. She is joined by her brothers Brainy, Clumsy, and Hefty-who unfortunately end up in Gargamel’s clutches. Gargamel (Rainn Wilson) uses his magic and finds out the there is another Smurf village, one that lies beyond the Forbidden Forest. Knowing the damage they have caused, Smurfette and her brothers trek has now changed into a rescue mission. They must reach the lost village before Gargamel and his cat, Azrael and warn the villagers of his evil plan. Who are these villagers? Hmm….
You don’t have to watch the first 2 Smurf films to understand what this one is about. They are completely different storylines and this one is 100% animation. A full return to the tone and characteristics of the beloved 80s cartoon. From the comedic gestures to the close escape from Gagamel, the movie provides loads of entertainment. It tugs at the heartstrings because we’ve all experienced self doubt. It does brush on moments of girl power and of course there are musical dance numbers. Really all the Smurfy fans that enjoyed the Smurfiness of yester-year Smurfs, will definitely find this movie the Smurftastic.
The film centered around Smurfette, the only female Smurf, and her struggle to find her place in Smurf Village. Smurfette was not born a Smurf. Gargamel used his magic to turn a piece of clay into Smurfette. His intent was to have his creation, Smurfette, lead him to Smurf village and capture all the Smurfs. Fortunately, Papa Smurf had his own magic and used it to turn Smurfette from evil to good.
Fast forward to present Smurf-day, Smurfette (Demi Lovato) tries her best to fit in, but ultimately has a serious identity crisis. So what does one do when they can’t figure out who they are? They go in search of their own identity. Along the way, Smurfette crosses paths with a strange creature. Eager to find out who this creature is, against Papa Smurf”s request, Smurfette decides to enter the Forbidden Forest. An area no Smurf has even been allowed to visit. She is joined by her brothers Brainy, Clumsy, and Hefty-who unfortunately end up in Gargamel’s clutches. Gargamel (Rainn Wilson) uses his magic and finds out the there is another Smurf village, one that lies beyond the Forbidden Forest. Knowing the damage they have caused, Smurfette and her brothers trek has now changed into a rescue mission. They must reach the lost village before Gargamel and his cat, Azrael and warn the villagers of his evil plan. Who are these villagers? Hmm….
You don’t have to watch the first 2 Smurf films to understand what this one is about. They are completely different storylines and this one is 100% animation. A full return to the tone and characteristics of the beloved 80s cartoon. From the comedic gestures to the close escape from Gagamel, the movie provides loads of entertainment. It tugs at the heartstrings because we’ve all experienced self doubt. It does brush on moments of girl power and of course there are musical dance numbers. Really all the Smurfy fans that enjoyed the Smurfiness of yester-year Smurfs, will definitely find this movie the Smurftastic.