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Lee KM Pallatina (951 KP) rated Ghost (1990) in Movies
Jun 21, 2019
Ditto
young couple sam & molly are in the middle of starting their lives together in their new home, when they are attacked one night resulting in Sam's death.
After sam refuses to move on, now having unfinished business, he begins Looking for answers. In need of help, sam meets a spiritualist fraud who terrifyingly (yet hilariously) discovers she has the gift.
This romantic/comedy/thriller manages to perfectly mix the dark and light tones of the movie, with edge of your seat, heart pounding moments.
Starring Patrick swayze, Demi Moore and Woopi Goldberg and Tony Goldwyn.
After sam refuses to move on, now having unfinished business, he begins Looking for answers. In need of help, sam meets a spiritualist fraud who terrifyingly (yet hilariously) discovers she has the gift.
This romantic/comedy/thriller manages to perfectly mix the dark and light tones of the movie, with edge of your seat, heart pounding moments.
Starring Patrick swayze, Demi Moore and Woopi Goldberg and Tony Goldwyn.
MusicCritics (472 KP) rated Grateful by DJ Khaled in Music
Jul 4, 2017
There’s no doubt Khaled’s formidable connections were the driving force behind ‘Grateful’. But, even with a dream team like this assembled, Khaled hasn’t located the ‘major key’ to the masterpiece he desired.
Critic- Sam Moore
Original Score: 3 out of 5
Read Review: http://www.nme.com/reviews/album/dj-khaled-grateful-album-review
Original Score: 3 out of 5
Read Review: http://www.nme.com/reviews/album/dj-khaled-grateful-album-review
John Hawkes recommended The Big Lebowski (1998) in Movies (curated)
Matthew Krueger (10051 KP) rated Darkman (1990) in Movies
Mar 5, 2021
In The Shadows
Darkman- is a dark twisted superhero movie directed by horror icon Sam Raimi. Its a excellent film as well.
The plot: When thugs employed by a crime boss lead a vicious assault on Dr. Peyton Wilder (Liam Neeson), leaving him literally and psychologically scarred, an emergency procedure allows him to survive. Upon his recovery, Wilder can find solace only by returning to his scientific work developing synthetic skin, and seeking revenge against the crime boss. He assumes a phantom avenger persona called Darkman, who, with malleable facial qualities, is able to infiltrate and sow terror in the criminal community.
Unable to secure the rights to either The Shadow or Batman, Raimi decided to create his own superhero and struck a deal with Universal Studios to make his first Hollywood studio film.
Initially, Raimi's longtime friend and collaborator Bruce Campbell was set to play Darkman, but the studio balked at the idea because they did not think Campbell could carry the role. Gary Oldman and Bill Paxton were also considered.
Sam had wanted to work with Frances McDormand but the studio resisted this notion and almost cast Julia Roberts before Pretty Woman made her a star. At one point, they wanted Demi Moore for the role. The director even tested Bridget Fonda but felt that she was too young for Neeson.
Its a excellent film.
The plot: When thugs employed by a crime boss lead a vicious assault on Dr. Peyton Wilder (Liam Neeson), leaving him literally and psychologically scarred, an emergency procedure allows him to survive. Upon his recovery, Wilder can find solace only by returning to his scientific work developing synthetic skin, and seeking revenge against the crime boss. He assumes a phantom avenger persona called Darkman, who, with malleable facial qualities, is able to infiltrate and sow terror in the criminal community.
Unable to secure the rights to either The Shadow or Batman, Raimi decided to create his own superhero and struck a deal with Universal Studios to make his first Hollywood studio film.
Initially, Raimi's longtime friend and collaborator Bruce Campbell was set to play Darkman, but the studio balked at the idea because they did not think Campbell could carry the role. Gary Oldman and Bill Paxton were also considered.
Sam had wanted to work with Frances McDormand but the studio resisted this notion and almost cast Julia Roberts before Pretty Woman made her a star. At one point, they wanted Demi Moore for the role. The director even tested Bridget Fonda but felt that she was too young for Neeson.
Its a excellent film.
Awix (3310 KP) rated Vice (2018) in Movies
Jan 31, 2019
Adam McKay's attempt to reinvent himself as a sort of non-documentarian version of Michael Moore is not so much a hatchet-job as a machete-job - no, make that a chainsaw-job - on the reputation of Dick Cheney, Vice-Prez under Dubya. Christian Bale vanishes under layers of make-up and the Cheney who emerges is a disturbing, totally unprincipled monster, consumed by the acquisition and use of power, responsible for (amongst other things) the invasion of Iraq and the rise of ISIS. Potentially quite heavy stuff going on, then, but McKay takes care to cheer things up (relatively speaking) by including big performances from Sam Rockwell and Steve Carell, along with a few Monty Python ideas repurposed for this movie.
Highly entertaining in a ghastly sort of way, and illuminating with respect to the twisted logic employed by the Bush administration and the role they played in facilitating the current civic nightmare engulfing the USA. Unlikely to appeal to the Republican base, for obvious reasons, but the film inevitably has some jokes to make about its own liberal bias, too, as well as being smart enough to allow Cheney the chance to justify himself, which he does in a disturbingly persuasive way. Still probably a bit too partisan for its own good, but still very impressive and a lot of fun; thought-provoking too.
Highly entertaining in a ghastly sort of way, and illuminating with respect to the twisted logic employed by the Bush administration and the role they played in facilitating the current civic nightmare engulfing the USA. Unlikely to appeal to the Republican base, for obvious reasons, but the film inevitably has some jokes to make about its own liberal bias, too, as well as being smart enough to allow Cheney the chance to justify himself, which he does in a disturbingly persuasive way. Still probably a bit too partisan for its own good, but still very impressive and a lot of fun; thought-provoking too.
Charlie Cobra Reviews (1840 KP) rated Spider-Man: Into the Spider-Verse (2018) in Movies
Jul 3, 2020
Amazingly Spectacular Again - 9/10
Spider-Man: Into the Spider-Verse is a computer animated superhero film based off of the Spider-Man comics and movie franchise focusing on the Miles Morales/Spider-Man. Produced by Colombia Pictures and Sony Pictures Animation, it's set in a shared multiverse, which has alternate universes, called, the "Spider-Verse". The movie was directed by Bob Persichetti, Peter Ramsey, and Rodney Rothman from a screenplay by Phil Lord and Rodney Rothman and story by Phil Lord. Starring Shameik Moore, Jake Johnson, Hailee Steinfield, and Mahershala Ali.
Miles Morales, (Shameik Moore) is a normal regular teenager from Brooklyn, whose parents, police officer Jefferson Davis (Brian Tyree Henry) and nurse Rio Morales (Luna Lauren Velez); have enrolled him in a new school. He visits his estranged Uncle Aaron Davis (Mahershala Ali) to vent and deal with pressures of living up to his parents expectations and making friends at a new school. His Uncle Aaron takes him to blow off steam to an abandoned subway station where he can paint graffiti and Miles is unknowingly bitten by "the Spider-Man" spider. After discovering his new powers, he returns to the subway searching for the spider and uncovers a secret lab where Spider-Man is in battle with the Green Goblin and the Prowler. Wilson Fisk, a.k.a. the Kingpin, is using the lab to test a particle accelerator which Spider-Man says could destroy the city. During the battle Spider-Man finds Miles hiding and entrusts him with a USB drive, when things don't go as planned. And that's just the beginning.
This movie is a must see. If you haven't seen this movie you are definitely missing out. My only complaints would be some of the Spider-Man felt unnecessary; also the style of movie was very dynamic and hard to adjust to, particularly the opening/intro. Once you get past that it's totally fine. The writers created a clear and captivating plot that truly encompasses the struggle of the "Spider-Man" character; such as dealing with normal problems like school, girls, parents, and hero problems like adjusting to powers, bad guys, and saving the city. This movie was rated PG so was made for kids but has a message and themes where it can be enjoyed by all ages and doesn't feel like a kid movie. This movie has quite a few entertaining characters including some of the alternate version spider men like, Spider-Woman/Gwen Stacy (Hailee Steinfield), Peter Porker/Spider-Ham (John Mulaney), and Peter Parker/Spider-Man Noir (Nicolas Cage). Although light hearted and funny, this movie definitely touched on more serious issues like loss, death, betrayal, responsibility and finding one's self. Probably the best Spider-Man movie, undoubtedly the best since Sam Raimi's first Spider-Man. I give it a 9/10.
Miles Morales, (Shameik Moore) is a normal regular teenager from Brooklyn, whose parents, police officer Jefferson Davis (Brian Tyree Henry) and nurse Rio Morales (Luna Lauren Velez); have enrolled him in a new school. He visits his estranged Uncle Aaron Davis (Mahershala Ali) to vent and deal with pressures of living up to his parents expectations and making friends at a new school. His Uncle Aaron takes him to blow off steam to an abandoned subway station where he can paint graffiti and Miles is unknowingly bitten by "the Spider-Man" spider. After discovering his new powers, he returns to the subway searching for the spider and uncovers a secret lab where Spider-Man is in battle with the Green Goblin and the Prowler. Wilson Fisk, a.k.a. the Kingpin, is using the lab to test a particle accelerator which Spider-Man says could destroy the city. During the battle Spider-Man finds Miles hiding and entrusts him with a USB drive, when things don't go as planned. And that's just the beginning.
This movie is a must see. If you haven't seen this movie you are definitely missing out. My only complaints would be some of the Spider-Man felt unnecessary; also the style of movie was very dynamic and hard to adjust to, particularly the opening/intro. Once you get past that it's totally fine. The writers created a clear and captivating plot that truly encompasses the struggle of the "Spider-Man" character; such as dealing with normal problems like school, girls, parents, and hero problems like adjusting to powers, bad guys, and saving the city. This movie was rated PG so was made for kids but has a message and themes where it can be enjoyed by all ages and doesn't feel like a kid movie. This movie has quite a few entertaining characters including some of the alternate version spider men like, Spider-Woman/Gwen Stacy (Hailee Steinfield), Peter Porker/Spider-Ham (John Mulaney), and Peter Parker/Spider-Man Noir (Nicolas Cage). Although light hearted and funny, this movie definitely touched on more serious issues like loss, death, betrayal, responsibility and finding one's self. Probably the best Spider-Man movie, undoubtedly the best since Sam Raimi's first Spider-Man. I give it a 9/10.
Acanthea Grimscythe (300 KP) rated Kill Creek in Books
May 15, 2018
When I open up a book, I’ve come to expect one of two things: a slow simmer with no reward, or something brimming with action. Rarely do I find one the former of those two to be worth the time spent building up to the climax. Scott Thomas’s debut novel, Kill Creek, defies those odds with an amazing payoff to its agonizingly long crawl.
One of the things I liked early on about Kill Creek is its homage to several different types of horror authors. The main characters, T. C. Moore, Daniel Slaughter, Sebastian Cole, and Sam McGarver, all represent different corners of the genre – and vastly different personalities. It’s a welcome relief from books filled with the same drab, rehashed characters of different names. (Seriously, I’ve read books where the main characters were pretty much identical and it’s a bore!)
In Kill Creek, Thomas takes a rather unusual approach to the whole haunted house thing. Rather than having a locale of note infested with ghosts, he takes slightly different strides: i.e., he personifies the house itself – a welcome respite from your traditional ghost stories.
I think my biggest issue with this book is its pacing. Several times I nearly put it down and many other times, I fell asleep reading it. That’s not to say that Thomas’s prose is drab – it’s not. Nor is the book a snoozefest. However, the first 70% of the novel is largely exposition and minor build-up. It’s not until the final 30% of the novel that things start to get messy and fun. Fortunately, Thomas’s ability to terrify, though more saturated near the end of the book, can be tasted subtly in that first, drier bit of his prose. (I had nightmares, y’all. Seriously.)
Because of that awfully slow burn, I can’t give this book all five skulls. I want to, and the last bit of the book nearly redeemed it, but to have more than half the novel filled with something that drags on so horribly is a nope in my book. Nonetheless, I know this man can write and I gladly look forward to more of his books.
I’d like to thank NetGalley and the publisher for providing me with a free copy of the book in exchange for an unbiased (albeit horribly late) review.
One of the things I liked early on about Kill Creek is its homage to several different types of horror authors. The main characters, T. C. Moore, Daniel Slaughter, Sebastian Cole, and Sam McGarver, all represent different corners of the genre – and vastly different personalities. It’s a welcome relief from books filled with the same drab, rehashed characters of different names. (Seriously, I’ve read books where the main characters were pretty much identical and it’s a bore!)
In Kill Creek, Thomas takes a rather unusual approach to the whole haunted house thing. Rather than having a locale of note infested with ghosts, he takes slightly different strides: i.e., he personifies the house itself – a welcome respite from your traditional ghost stories.
I think my biggest issue with this book is its pacing. Several times I nearly put it down and many other times, I fell asleep reading it. That’s not to say that Thomas’s prose is drab – it’s not. Nor is the book a snoozefest. However, the first 70% of the novel is largely exposition and minor build-up. It’s not until the final 30% of the novel that things start to get messy and fun. Fortunately, Thomas’s ability to terrify, though more saturated near the end of the book, can be tasted subtly in that first, drier bit of his prose. (I had nightmares, y’all. Seriously.)
Because of that awfully slow burn, I can’t give this book all five skulls. I want to, and the last bit of the book nearly redeemed it, but to have more than half the novel filled with something that drags on so horribly is a nope in my book. Nonetheless, I know this man can write and I gladly look forward to more of his books.
I’d like to thank NetGalley and the publisher for providing me with a free copy of the book in exchange for an unbiased (albeit horribly late) review.
MaryAnn (14 KP) rated CSB Worldview Study Bible in Books
Nov 4, 2019
The CSB Worldview Study Bible features extensive worldview study notes and articles by notable Christian scholars to help Christians better understand the grand narrative and flow of Scripture within the biblical framework from which we are called to view reality and make sense of life and the world. Guided by general editors David S. Dockery and Trevin K. Wax, this Bible is an invaluable resource and study tool that will help you to discuss, defend, and clearly share with others the truth, hope, and practical compatibility of Christianity in everyday life.
Features include:
Extensive worldview study notes
Over 130 articles by notable Christian scholars
Center-column references
Smyth-sewn binding
Presentation page
Two ribbon markers
Two-piece gift box, and more
General Editors: David S. Dockery and Trevin Wax
Associate Editors: Constantine R. Campbell, E. Ray Clendenen, Eric J. Tully
Contributors include: David S. Dockery, Trevin K. Wax, Ray Van Neste, John Stonestreet, Ted Cabal, Darrell L. Bock, Mary J. Sharp, Carl R. Trueman, Bruce Riley Ashford, R. Albert Mohler Jr., William A. Dembski, Preben Vang, David K. Naugle, Jennifer A. Marshall, Aida Besancon Spencer, Paul Copan, Robert Smith Jr., Douglas Groothuis, Russell D. Moore, Mark A. Noll, Timothy George, Carla D. Sanderson, Kevin Smith, Gregory B. Forster, Choon Sam Fong, and more.
The CSB Worldview Study Bible features the highly readable, highly reliable text of the Christian Standard Bible (CSB). The CSB stays as literal as possible to the Bibles original meaning without sacrificing clarity, making it easier to engage with Scriptures life-transforming message and to share it with others.
This is a wonderful Bible that not only gives us God's word but teaches through credible editors about the Christians view of the world. There are articles that show us the Biblical view of that issue; such a: the Biblical view of music, Personal Finances. Ther is an article on how Christians should relate to the government along with various other interesting articles.
This is a great study Bible for new believers, for discipling, for those interested in how God's word relates to issues around us today. How we as Christians should respond to a world that is turning against Christians.
This is a beautiful Bible, that is easy to read and has full-color maps. This will be a great addition to anyone's library.
CSB Worldview Study Bible
I received this book free from the publisher. I was not required to write a positive review and the opinions I have expressed are my own. I am disclosing this in accordance with the Federal Trade Commissions 16 CFR, Part 255 : Guides Concerning the Use of Endorsements and Testimonials in Advertising.
Features include:
Extensive worldview study notes
Over 130 articles by notable Christian scholars
Center-column references
Smyth-sewn binding
Presentation page
Two ribbon markers
Two-piece gift box, and more
General Editors: David S. Dockery and Trevin Wax
Associate Editors: Constantine R. Campbell, E. Ray Clendenen, Eric J. Tully
Contributors include: David S. Dockery, Trevin K. Wax, Ray Van Neste, John Stonestreet, Ted Cabal, Darrell L. Bock, Mary J. Sharp, Carl R. Trueman, Bruce Riley Ashford, R. Albert Mohler Jr., William A. Dembski, Preben Vang, David K. Naugle, Jennifer A. Marshall, Aida Besancon Spencer, Paul Copan, Robert Smith Jr., Douglas Groothuis, Russell D. Moore, Mark A. Noll, Timothy George, Carla D. Sanderson, Kevin Smith, Gregory B. Forster, Choon Sam Fong, and more.
The CSB Worldview Study Bible features the highly readable, highly reliable text of the Christian Standard Bible (CSB). The CSB stays as literal as possible to the Bibles original meaning without sacrificing clarity, making it easier to engage with Scriptures life-transforming message and to share it with others.
This is a wonderful Bible that not only gives us God's word but teaches through credible editors about the Christians view of the world. There are articles that show us the Biblical view of that issue; such a: the Biblical view of music, Personal Finances. Ther is an article on how Christians should relate to the government along with various other interesting articles.
This is a great study Bible for new believers, for discipling, for those interested in how God's word relates to issues around us today. How we as Christians should respond to a world that is turning against Christians.
This is a beautiful Bible, that is easy to read and has full-color maps. This will be a great addition to anyone's library.
CSB Worldview Study Bible
I received this book free from the publisher. I was not required to write a positive review and the opinions I have expressed are my own. I am disclosing this in accordance with the Federal Trade Commissions 16 CFR, Part 255 : Guides Concerning the Use of Endorsements and Testimonials in Advertising.
JT (287 KP) rated Skyfall (2012) in Movies
Mar 10, 2020
I wondered recently who my favourite Bond is? Do I enjoy the comical quips of Roger Moore or the smooth suave debonair approach of Sean Connery. But everytime I think about it, I keep coming full circle to Daniel Craig, in particularly Skyfall.
After the somewhat disappointment of Quantum of Solace Oscar winning director Sam Mendes has taken Bond 23 and given it a grittier more emotional look while paying homage to some of the past Bond classics. The opening credits are an explosive introduction as we see Bond give chase through a Turkish bazaar which includes an impressive motor bike pursuit and a brilliantly choreographed fist fight on top of a moving train.
After being shot Bond is seen falling to his certain death and the film explodes into its trademark opening credits, complete with Adele’s powerful voice, a song that really evokes everything Bond. When 007 finally returns from the grave having spent time away partaking in scorpion drinking games, post shag Heineken’s and ultimately ’enjoying death’ he comes back to find that MI6 has moved deep into subterranean London after an attack on MI6.
He’s unshaven, disheveled and is a shadow of the former agent, not even able to shoot straight or do a succession of chin-ups without collapsing. Skyfall scratches deep beneath the emotional undertones of both Bond and M as their pasts are dragged up for all to see. Judi Dench in her seventh Bond outing gets a much bigger slice of the action, she is without question the main Bond girl here. Joined by Naomie Harris and Bérénice Marlohe who both take a relative back seat.
The Bond franchise has always had a rich tradition of producing menacing and iconic villains, Bloefeld, Scaramanga and Goldfinger to name a few, but the introduction of Javier Bardem will now have a place in Bond folk-law as one of the best modern day baddies.
His entrance was perfect, with Bond tied to a chair Bardem’s Silva (himself a former agent) entered from an elevator at the far side of the room, and in one take slowly walked forward as he produced a monologue about rats in a barrel, proceeding to taunt 007 about his own past and the connections that they both have with M.
The last few films have also lacked any real gadgetry in terms of Q branch, something which after being around for so long was definitely missing. Ben Wishaw’s appearance as a much younger Q, “you’ve still got spots” points out 007, was a much needed injection as he hands out Bond his new Walter PPK and radio transmitter (they don’t go in for exploding pens anymore).
It’s simple stuff but it was great to see that character back where he belongs.
There is subtle humour throughout and light hearted moments, Bond himself throwing a few winks here and there as Roger Moore used to do so well back in the day. The action of course is another high point, believable or not it’s stunning but then this is what we have come to expect from one of the longest running franchises in film history.
The locations and cinematography were sublime, from the depths of the London underground to the Scottish highlands in the film’s pulsating climax; Skyfall brought Bond back to Britain. The scenes set in Shanghai where also exceptional, the highlight for me, the neon lit skyscraper fight in which Bond fails to hang onto the information he needs, quite literally.
Ralph Fiennes bureaucratic Mallory is another casting masterstroke, Albert Finney ads some touching moments of his own, while MI6 agent Eve who after shooting 007 by mistake and takes a back seat from active duty will no doubt please many fans with her new role.
Skyfall, of which I was not sure what on earth the title meant at the time is all the more clear in the third act. Bond chooses to revisit his child hood home and use that against Silva in a make shift home defense that even MacAulay Culkin would be proud of. It is fantastically shot and is the perfect ending to a film that has been top draw all the way through.
Some comparisons have been drawn to this and The Dark Knight in that the main characters are lost and then re-born in some way, both have a past that haunts them as well as dead parents. Mendes and the writers have taken this film down a darker route but an emotive one as well and that is credit to them, it all made sense and the story flowed well.
Skyfall is nothing short of a triumph and has given Bond fans everything they could have asked for and so much more.
After the somewhat disappointment of Quantum of Solace Oscar winning director Sam Mendes has taken Bond 23 and given it a grittier more emotional look while paying homage to some of the past Bond classics. The opening credits are an explosive introduction as we see Bond give chase through a Turkish bazaar which includes an impressive motor bike pursuit and a brilliantly choreographed fist fight on top of a moving train.
After being shot Bond is seen falling to his certain death and the film explodes into its trademark opening credits, complete with Adele’s powerful voice, a song that really evokes everything Bond. When 007 finally returns from the grave having spent time away partaking in scorpion drinking games, post shag Heineken’s and ultimately ’enjoying death’ he comes back to find that MI6 has moved deep into subterranean London after an attack on MI6.
He’s unshaven, disheveled and is a shadow of the former agent, not even able to shoot straight or do a succession of chin-ups without collapsing. Skyfall scratches deep beneath the emotional undertones of both Bond and M as their pasts are dragged up for all to see. Judi Dench in her seventh Bond outing gets a much bigger slice of the action, she is without question the main Bond girl here. Joined by Naomie Harris and Bérénice Marlohe who both take a relative back seat.
The Bond franchise has always had a rich tradition of producing menacing and iconic villains, Bloefeld, Scaramanga and Goldfinger to name a few, but the introduction of Javier Bardem will now have a place in Bond folk-law as one of the best modern day baddies.
His entrance was perfect, with Bond tied to a chair Bardem’s Silva (himself a former agent) entered from an elevator at the far side of the room, and in one take slowly walked forward as he produced a monologue about rats in a barrel, proceeding to taunt 007 about his own past and the connections that they both have with M.
The last few films have also lacked any real gadgetry in terms of Q branch, something which after being around for so long was definitely missing. Ben Wishaw’s appearance as a much younger Q, “you’ve still got spots” points out 007, was a much needed injection as he hands out Bond his new Walter PPK and radio transmitter (they don’t go in for exploding pens anymore).
It’s simple stuff but it was great to see that character back where he belongs.
There is subtle humour throughout and light hearted moments, Bond himself throwing a few winks here and there as Roger Moore used to do so well back in the day. The action of course is another high point, believable or not it’s stunning but then this is what we have come to expect from one of the longest running franchises in film history.
The locations and cinematography were sublime, from the depths of the London underground to the Scottish highlands in the film’s pulsating climax; Skyfall brought Bond back to Britain. The scenes set in Shanghai where also exceptional, the highlight for me, the neon lit skyscraper fight in which Bond fails to hang onto the information he needs, quite literally.
Ralph Fiennes bureaucratic Mallory is another casting masterstroke, Albert Finney ads some touching moments of his own, while MI6 agent Eve who after shooting 007 by mistake and takes a back seat from active duty will no doubt please many fans with her new role.
Skyfall, of which I was not sure what on earth the title meant at the time is all the more clear in the third act. Bond chooses to revisit his child hood home and use that against Silva in a make shift home defense that even MacAulay Culkin would be proud of. It is fantastically shot and is the perfect ending to a film that has been top draw all the way through.
Some comparisons have been drawn to this and The Dark Knight in that the main characters are lost and then re-born in some way, both have a past that haunts them as well as dead parents. Mendes and the writers have taken this film down a darker route but an emotive one as well and that is credit to them, it all made sense and the story flowed well.
Skyfall is nothing short of a triumph and has given Bond fans everything they could have asked for and so much more.
Bob Mann (459 KP) rated The Commuter (2018) in Movies
Sep 29, 2021
“This train is freaking me out”.
“The Commuter” is not a good film. You know that I’m not a prude about action films: “Die Hard” is one of my all time favourites and I even gave this actor/director combo’s previous outing – “Non-Stop” – a rather generous three Fads. But like many of my commutes, this is a hundred minutes of life that I won’t get back again.
Liam Neeson (“A Monster Calls“, “Taken 3“) plays Michael MacCauley an insurance salesman (no, I’m not making it up) who of course used to be a police officer with a certain set of skills. With advancing years, a couple of mortgages to keep up and a son about to go to college, he is financially rather exposed.
“Give me a sausage roll off the trolley…. NOW damn it”.
When a bad day turns worse, the commuting MacCauley is approached by a mysterious woman (Vera Farmiga, “The Judge“, “Up In The Air”) who offers him a financial bail-out for doing “just one small thing”. No, it’s not for sex in the toilet… it’s to use his familiarity with the train and its normal passengers to find the person that ‘doesn’t fit there’. For there is a lot at stake and MacCauley is drawn into a perilous game where his own life and the lives of his son and wife Karen (Elizabeth McGovern, “Downton Abbey”) are put at risk.
Vera Farmiga has a proposition for Liam Neeson.
What the inexperienced writers (Byron Willinger, Philip de Blasi and Ryan Engle (“Non-stop”)) were clearly shooting for was a Hitchcockian “ordinary man in deep-water” style flick of the James Stewart “North by Northwest” variety…. but they really miss this by a mile. With the 65 year old Liam Neeson – here playing 60 – performing acrobatics on, under and across an express train, belief is not just suspended – it is hung drawn and quartered! The action is just ludicrously unrealistic.
Unfortunately, Neeson – although still looking remarkably good for his advanced years – is increasingly is starting to look like Roger Moore in “A View to a Kill”: its time to hang up the ‘action hero’ coat and focus on more character acting pieces (this was the man who gave us Oskar Schindler after all).
A chain defies all the laws of physics… train guard Colin McFarlane tries to help Neeson avoid disaster. A green screen is obviously not evident!
The plot also has more holes than a moth-eaten jumper. Omnipotence of the villains is evident, but never explained, and while they are fiendishly clever in some aspects they are face-palmingly stupid about others. (No spoilers, but the threat to MacCauley’s family is mind-numbingly foilable).
It was fairly obvious that Obi Wan Kenobi was out of place on the train. No.. of course not… this was just MacCauley’s commuting pal Walt (Jonathan Banks)
A ‘major event’ at the end of reel two (if you’ve seen the spoilerish trailer you’ll know what this is) leads – notably without any ‘consequence’ – into a completely ridiculous final reel that beggars belief. It also includes a “twist” so obvious that the writers must have assumed an IQ of sub-50.
What’s the great Sam Neill (“Jurassic Park”) doing in this mess?
This is a film that melds “Taken”, “Non-stop”, “Unstoppable”, “Strangers on a Train” and – most bizarrely and cringe-worthily – “Spartacus” to create a cinematic mess of supreme proportions. I put director Jaume Collet-Serra’s last film – “The Shallows” – into my Top 10 films of 2016. He’ll be lucky if this one doesn’t make my “Turkeys of the Year” list for 2018.
Avoid!
Liam Neeson (“A Monster Calls“, “Taken 3“) plays Michael MacCauley an insurance salesman (no, I’m not making it up) who of course used to be a police officer with a certain set of skills. With advancing years, a couple of mortgages to keep up and a son about to go to college, he is financially rather exposed.
“Give me a sausage roll off the trolley…. NOW damn it”.
When a bad day turns worse, the commuting MacCauley is approached by a mysterious woman (Vera Farmiga, “The Judge“, “Up In The Air”) who offers him a financial bail-out for doing “just one small thing”. No, it’s not for sex in the toilet… it’s to use his familiarity with the train and its normal passengers to find the person that ‘doesn’t fit there’. For there is a lot at stake and MacCauley is drawn into a perilous game where his own life and the lives of his son and wife Karen (Elizabeth McGovern, “Downton Abbey”) are put at risk.
Vera Farmiga has a proposition for Liam Neeson.
What the inexperienced writers (Byron Willinger, Philip de Blasi and Ryan Engle (“Non-stop”)) were clearly shooting for was a Hitchcockian “ordinary man in deep-water” style flick of the James Stewart “North by Northwest” variety…. but they really miss this by a mile. With the 65 year old Liam Neeson – here playing 60 – performing acrobatics on, under and across an express train, belief is not just suspended – it is hung drawn and quartered! The action is just ludicrously unrealistic.
Unfortunately, Neeson – although still looking remarkably good for his advanced years – is increasingly is starting to look like Roger Moore in “A View to a Kill”: its time to hang up the ‘action hero’ coat and focus on more character acting pieces (this was the man who gave us Oskar Schindler after all).
A chain defies all the laws of physics… train guard Colin McFarlane tries to help Neeson avoid disaster. A green screen is obviously not evident!
The plot also has more holes than a moth-eaten jumper. Omnipotence of the villains is evident, but never explained, and while they are fiendishly clever in some aspects they are face-palmingly stupid about others. (No spoilers, but the threat to MacCauley’s family is mind-numbingly foilable).
It was fairly obvious that Obi Wan Kenobi was out of place on the train. No.. of course not… this was just MacCauley’s commuting pal Walt (Jonathan Banks)
A ‘major event’ at the end of reel two (if you’ve seen the spoilerish trailer you’ll know what this is) leads – notably without any ‘consequence’ – into a completely ridiculous final reel that beggars belief. It also includes a “twist” so obvious that the writers must have assumed an IQ of sub-50.
What’s the great Sam Neill (“Jurassic Park”) doing in this mess?
This is a film that melds “Taken”, “Non-stop”, “Unstoppable”, “Strangers on a Train” and – most bizarrely and cringe-worthily – “Spartacus” to create a cinematic mess of supreme proportions. I put director Jaume Collet-Serra’s last film – “The Shallows” – into my Top 10 films of 2016. He’ll be lucky if this one doesn’t make my “Turkeys of the Year” list for 2018.
Avoid!