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Bob Mann (459 KP) rated The Personal History of David Copperfield (2019) in Movies
Jan 8, 2021
The fantastic ensemble cast (1 more)
Great directing and editing
Effortlessly stylish and entertaining
The Personal History of David Copperfield starts with the young man (Dev Patel) regaling a theatre audience with a reading of his autobiography. This immediately pitches him into witnessing his own birth to widowed single mother Clara (the wonderful Morfydd Clark, or "Saint Maud" fame). From there, Copperfield goes helter-skelter into a rollercoaster life encompassing workhouse-bottling poverty, fish-gutting and rich gentlemanly pursuits.
You have to admire the artistry of Dickens. Of course, I am aware of some of the plethora of rich and complex characters that Dickens imagined including the rascally Mr Micawber (Peter Capaldi) and the ever-'umble but conniving Uriah Heep (Ben Wishaw). But the story is literally rammed with amazing characters. It's almost as if Dickens conjured up full pen-portraits of 30 different characters and then contrived to fit them somehow into the story. Remarkably rich.
There's a very striking nature to the casting of this movie. It had me going "Wha?? Who??" while watching it. Because the roles are cast multi-culturally, without nature to the demographics of the time and - crucially - to the relationship between the characters. For example, with Copperfield, you might - with a bit of a squint - play along with it since we never see the father. But then the mother of the (very-much-white) Steerforth (Aneurin Barnard) turns up as Nigerian-born actress Nikki Amuka-Bird (who is fabulous). Benedict Wong also turns up as legal director Mr Wickfield. It was as if the casting was done purely on talent and regardless of race and appropriateness for the Dickensian times. Which is refreshingly different and much to be welcomed.
Sarah Crowe has won a number of awards for her casting of the film and a BAFTA nomination too. And well deserved, since she pulls in a truly stellar ensemble cast. As well as those mentioned above, we also have Hugh Laurie as the addled Mr Dick; Tilda Swinton as Betsey Trotwood; Anna Maxwell Martin as Mrs Strong; Paul Whitehouse as Daniel Peggotty; and Gwendoline Christie as the evil Mrs Murdstone. Even Daisy May Cooper (from TV's "This Country") turns up and is particularly effective as Peggoty - the housemaid and friend to Copperfield. And casting Morfydd Clark in a second role as the scatty love interest Dora Spenlow is also both brilliant and provocative.
With such a wealth of talent on show, it's difficult to pull out specific performances. This is a movie that genuinely deserved to make the SAG Ensemble award list.
When I saw that the director of this was Armando Iannucci, I raised an eyebrow. For the subject matter seemed to be at right angles to the normal satirical thrust of the director. But the guy behind "The Thick of It" and "The Death of Stalin" reigned in his most satirical barbs and - together with his regular collaborative screenwriter Simon Blackwell - turned the movie into a delightfully quirky telling of the story. I felt that there was something of the Guy Ritchie "Sherlock Holmes" behind the very effective use of the cutting and on screen handwriting.
In that cutting, many of the scene transitions are masterfully done. So a special shout-out to the film editors Mick Audsley and Peter Lambert here. A memorable example is a flashback in the "boat house" where a background tarpaulin blows away to reveal Steerforth on horseback in France: simply breathtaking.
This was a refreshing movie. Endlessly innovative and entertaining. It makes me even possibly want to revisit trying to read the book again! Highly recommended.
(For the full graphical review, please check out the review here - https://rb.gy/ba74zo ).
You have to admire the artistry of Dickens. Of course, I am aware of some of the plethora of rich and complex characters that Dickens imagined including the rascally Mr Micawber (Peter Capaldi) and the ever-'umble but conniving Uriah Heep (Ben Wishaw). But the story is literally rammed with amazing characters. It's almost as if Dickens conjured up full pen-portraits of 30 different characters and then contrived to fit them somehow into the story. Remarkably rich.
There's a very striking nature to the casting of this movie. It had me going "Wha?? Who??" while watching it. Because the roles are cast multi-culturally, without nature to the demographics of the time and - crucially - to the relationship between the characters. For example, with Copperfield, you might - with a bit of a squint - play along with it since we never see the father. But then the mother of the (very-much-white) Steerforth (Aneurin Barnard) turns up as Nigerian-born actress Nikki Amuka-Bird (who is fabulous). Benedict Wong also turns up as legal director Mr Wickfield. It was as if the casting was done purely on talent and regardless of race and appropriateness for the Dickensian times. Which is refreshingly different and much to be welcomed.
Sarah Crowe has won a number of awards for her casting of the film and a BAFTA nomination too. And well deserved, since she pulls in a truly stellar ensemble cast. As well as those mentioned above, we also have Hugh Laurie as the addled Mr Dick; Tilda Swinton as Betsey Trotwood; Anna Maxwell Martin as Mrs Strong; Paul Whitehouse as Daniel Peggotty; and Gwendoline Christie as the evil Mrs Murdstone. Even Daisy May Cooper (from TV's "This Country") turns up and is particularly effective as Peggoty - the housemaid and friend to Copperfield. And casting Morfydd Clark in a second role as the scatty love interest Dora Spenlow is also both brilliant and provocative.
With such a wealth of talent on show, it's difficult to pull out specific performances. This is a movie that genuinely deserved to make the SAG Ensemble award list.
When I saw that the director of this was Armando Iannucci, I raised an eyebrow. For the subject matter seemed to be at right angles to the normal satirical thrust of the director. But the guy behind "The Thick of It" and "The Death of Stalin" reigned in his most satirical barbs and - together with his regular collaborative screenwriter Simon Blackwell - turned the movie into a delightfully quirky telling of the story. I felt that there was something of the Guy Ritchie "Sherlock Holmes" behind the very effective use of the cutting and on screen handwriting.
In that cutting, many of the scene transitions are masterfully done. So a special shout-out to the film editors Mick Audsley and Peter Lambert here. A memorable example is a flashback in the "boat house" where a background tarpaulin blows away to reveal Steerforth on horseback in France: simply breathtaking.
This was a refreshing movie. Endlessly innovative and entertaining. It makes me even possibly want to revisit trying to read the book again! Highly recommended.
(For the full graphical review, please check out the review here - https://rb.gy/ba74zo ).
Gareth von Kallenbach (965 KP) rated The SpongeBob Movie: Sponge Out of Water (2015) in Movies
Aug 6, 2019
Are you ready kids?”
“Aye, Aye, Captain…………”
As if, one motion picture wasn’t enough. Nickelodeon decides to release a sequel to the well received 2004 movie, “Spongebob Squarepants.”
The game is afoot with pirate Burger Beard (Antonio Banderas), who finds a treasure map that leads him to a legendary book. This book tells the story of the day in the life of the residence of Bikini Bottom. Spongebob is hard a work flipping burgers at the Krusty Krab. Plankton as usual is trying steal the secret recipe to everyone’s favorite snack, the Krabby patty. In the midst of the battle to save the recipe from Plankton’s evil hands, the recipe vanishes in midair. When the town realizes this may be the end of the Krabby patty forever, everyone begins panic, panic turns into destruction, and destruction leads to a satirical play on every post-apocalyptic film imaginable. Always the skeptic, Mr. Krabs (Clancy Brown) turns the town and Spongebob’s closest friends against him. Forcing Spongebob to team up with Plankton, who has his own ulterior motives, to search for the recipe.
Plankton decides the best way to try to find the recipe is to invent a time machine so they can travel back to just before the recipe disappeared. Thus begins the adventure of travelling through time and ultimately ending with the entire gang, dressed up as superheroes, venturing on land to locate Burger Beard and get the recipe back.
Director Paul Tibbitt does an excellent job at taking all the visual humor that we’ve come to love from the TV show, and presents it with wonderful animation and stellar computer generated sequences for the dry land scenes.
Ninety minutes of Spongebob and friends’ zany antics, absurdities, and that obnoxious laugh is more than any parent can handle. That aside, you don’t have to be a fan of the show to enjoy those goofy laugh out loud moments. Definitely a movie geared towards kids!
“Aye, Aye, Captain…………”
As if, one motion picture wasn’t enough. Nickelodeon decides to release a sequel to the well received 2004 movie, “Spongebob Squarepants.”
The game is afoot with pirate Burger Beard (Antonio Banderas), who finds a treasure map that leads him to a legendary book. This book tells the story of the day in the life of the residence of Bikini Bottom. Spongebob is hard a work flipping burgers at the Krusty Krab. Plankton as usual is trying steal the secret recipe to everyone’s favorite snack, the Krabby patty. In the midst of the battle to save the recipe from Plankton’s evil hands, the recipe vanishes in midair. When the town realizes this may be the end of the Krabby patty forever, everyone begins panic, panic turns into destruction, and destruction leads to a satirical play on every post-apocalyptic film imaginable. Always the skeptic, Mr. Krabs (Clancy Brown) turns the town and Spongebob’s closest friends against him. Forcing Spongebob to team up with Plankton, who has his own ulterior motives, to search for the recipe.
Plankton decides the best way to try to find the recipe is to invent a time machine so they can travel back to just before the recipe disappeared. Thus begins the adventure of travelling through time and ultimately ending with the entire gang, dressed up as superheroes, venturing on land to locate Burger Beard and get the recipe back.
Director Paul Tibbitt does an excellent job at taking all the visual humor that we’ve come to love from the TV show, and presents it with wonderful animation and stellar computer generated sequences for the dry land scenes.
Ninety minutes of Spongebob and friends’ zany antics, absurdities, and that obnoxious laugh is more than any parent can handle. That aside, you don’t have to be a fan of the show to enjoy those goofy laugh out loud moments. Definitely a movie geared towards kids!
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RəX Regent (349 KP) rated Batman: The Movie (1966) in Movies
Feb 18, 2019 (Updated Feb 18, 2019)
Some days, you just can’t get rid of a bomb!
Before the Frank Miller’s Dark Knight, there was the Caped Crusader; The founding member of the Dynamic Duo, Batman and his ward, the Boy Wonder, Robin. In order to promote the series, after Batman’s first season, a theatrical version was green-lit. Bigger and longer than any of the soon to be syndicated TV show, which would ultimately run for three seasons, Batman was on the big screen with “all his wonderful toys” and a whole host of new ones.
Welcome, the Bat Ladder, Bat-boat, Bat-copter and of course the Bat Shark Repellent! The wry humour can easily be dismissed as hammy and cheap, but in fact, this incarnation of Batman struck a cord and ran with it with confidence. And in this era of The Dark Knight, Batman Light is a welcome respite from all the dower self flagellation of the character.
The late Adam West and Burt Ward are as dry as ever as they over act and dramatically fight crime against a collection of cartoon villains, with this movie delivering the most popular, The Joker (Caesar Romero), Catwoman (Lee Meriwether), The Riddler (Frank Gorshin, all of whom have been brought together by Burgess Meredith’s, Penguin.
Fun from start to finish, with Batman gags, satirical humour and out and out farce! (The bomb gag is classic!) An outrageous plot involving dehydrating the UN Security Council is delivered at a breakneck pace, with one set piece being delivered after another. It is hard to imagine that so much happens in such a lean running time. This is a smart comedy with does not out stay its welcome.
And that is the thing with Batman (1966); It is a smart comedy posing a piece of nonsense. A point proven by its popularity 50 years on. If anything, the recent Lego Batman Movie plays the same hand, only it gets away with it because its a kids Lego digi-mation. But the humour is very similar, irreverently honouring their source.
If you have not seen this in years and god forbid, not at all then get yourself…
…”to the Batmobile!”
Welcome, the Bat Ladder, Bat-boat, Bat-copter and of course the Bat Shark Repellent! The wry humour can easily be dismissed as hammy and cheap, but in fact, this incarnation of Batman struck a cord and ran with it with confidence. And in this era of The Dark Knight, Batman Light is a welcome respite from all the dower self flagellation of the character.
The late Adam West and Burt Ward are as dry as ever as they over act and dramatically fight crime against a collection of cartoon villains, with this movie delivering the most popular, The Joker (Caesar Romero), Catwoman (Lee Meriwether), The Riddler (Frank Gorshin, all of whom have been brought together by Burgess Meredith’s, Penguin.
Fun from start to finish, with Batman gags, satirical humour and out and out farce! (The bomb gag is classic!) An outrageous plot involving dehydrating the UN Security Council is delivered at a breakneck pace, with one set piece being delivered after another. It is hard to imagine that so much happens in such a lean running time. This is a smart comedy with does not out stay its welcome.
And that is the thing with Batman (1966); It is a smart comedy posing a piece of nonsense. A point proven by its popularity 50 years on. If anything, the recent Lego Batman Movie plays the same hand, only it gets away with it because its a kids Lego digi-mation. But the humour is very similar, irreverently honouring their source.
If you have not seen this in years and god forbid, not at all then get yourself…
…”to the Batmobile!”
JT (287 KP) rated Child's Play (2019) in Movies
Mar 10, 2020
Re-imagining of classic horror films can go either way. They can stick close to the original while giving it a fresh injection of gore to satisfy the bloodthirsty millennials. Or deviate it from the storyline altogether to put its own spin on the narrative.
In the Child’s Play remake the original ‘Good Guy’ dolls have been replaced by 21st-century technology in the form of ‘Buddi’ dolls which, have been produced by Kaslan Industries. And instead of a psychotic serial killer transferring his soul to the body of a doll, Buddi has all of his safety features disabled by a disgruntled Kaslan employee. The change from possession to A.I. fits perfectly within the modern world where people rely heavily on their phones and various voice-activated gadgets.
The gore levels should more than satisfy horror fans with death scenes ranging from tillers, saws and self-driving cars
Best friends, Chucky and Andy (Gabriel Bateman) share a moment
Chucky, as he will inevitably call himself, makes his way to Chicago and into the home of the Barclay’s, where mum Karen (Aubrey Plaza) gets her hands on the defective doll as an early birthday present for son Andy (Gabriel Bateman). After a few small glitches (eyes turning red) Andy and Chucky start to form a close bond. But the bond takes a sinister turn when Chucky starts to act differently in his pursuit of the ultimate friendship.
One of the highlights of the film is the brilliant casting of Mark Hamill as the voice of the murderous doll. Hamill (outside of Star Wars) is well known as a talented voice actor, having provided the voice of the Joker in the animated series. Hamill uses his full range of softly spoken innocence and demented rage to portray a character who is influenced by everything around him (there are blatant references to E.T.) and then uses it to the best of his ability in killing off people in a range of horrific (and comical) ways.
The gore levels should more than satisfy horror fans with death scenes ranging from tillers, saws and self-driving cars. It’s not without its faults but this satirical take on the slasher genre is certainly B-movie levels at best.
In the Child’s Play remake the original ‘Good Guy’ dolls have been replaced by 21st-century technology in the form of ‘Buddi’ dolls which, have been produced by Kaslan Industries. And instead of a psychotic serial killer transferring his soul to the body of a doll, Buddi has all of his safety features disabled by a disgruntled Kaslan employee. The change from possession to A.I. fits perfectly within the modern world where people rely heavily on their phones and various voice-activated gadgets.
The gore levels should more than satisfy horror fans with death scenes ranging from tillers, saws and self-driving cars
Best friends, Chucky and Andy (Gabriel Bateman) share a moment
Chucky, as he will inevitably call himself, makes his way to Chicago and into the home of the Barclay’s, where mum Karen (Aubrey Plaza) gets her hands on the defective doll as an early birthday present for son Andy (Gabriel Bateman). After a few small glitches (eyes turning red) Andy and Chucky start to form a close bond. But the bond takes a sinister turn when Chucky starts to act differently in his pursuit of the ultimate friendship.
One of the highlights of the film is the brilliant casting of Mark Hamill as the voice of the murderous doll. Hamill (outside of Star Wars) is well known as a talented voice actor, having provided the voice of the Joker in the animated series. Hamill uses his full range of softly spoken innocence and demented rage to portray a character who is influenced by everything around him (there are blatant references to E.T.) and then uses it to the best of his ability in killing off people in a range of horrific (and comical) ways.
The gore levels should more than satisfy horror fans with death scenes ranging from tillers, saws and self-driving cars. It’s not without its faults but this satirical take on the slasher genre is certainly B-movie levels at best.