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JT (287 KP) rated Dredd (2012) in Movies
Mar 10, 2020
From the opening slow motion bullet to the face and exit wound that leaves a spray of deep red across the screen, it’s clear to see that this Dredd reboot is all about eradicating the memory of Stallone. It also does its best to stay true to the graphic novels in which this Judge Dredd leaves his helmet on for the entirety.
Karl Urban steps into the boots for this outing and complete with grizzled voice that echoes of Clint Eastwood’s Dirty Harry he goes up against female villain Ma-Ma (Headey) who is as nasty as she is ruthless.
Mega City one, set on the East Coast and running from Boston to Washington DC is the Judges stomping ground and its being overrun by a new drug called SLO-MO in which users experience reality at a fraction of the speed. When a routine homicide leads Dredd and rookie Judge Cassandra Anderson (Thirlby) to The Peach Trees, a 200-storey slum tower block (wait, another tower block?), they must fight their way through the scum to get to the top and bring down the prostitute turned drug lord.
The film is certainly grittier and bloodier than its almost comic predecessor, and director Travis does not shy away from this.
An early encounter in which Dredd and Anderson infiltrate a drug house is slowed right down, maybe in some way to mirror the feeling the SLO-MO drug has on its users. Bullets and blood fly as the casualties and body count rise significantly, Dredd quips the occasional one liner with deadpan expression “negotiation’s over. Sentence is death.”
Those that saw The Raid would have been mesmerized by the action which was none stop from start to finish, sadly Dredd doesn’t live up to those high expectations but does its best to stay with mainstream carnage, of which there is plenty to satisfy.
It’s all about the facial expression
Thirlby’s psychic abilities prove useful but almost disappointing that she can second guess her opponents, a mutant, she’d probably fit in well with the X-Men. She’s the sense of reason to Dredd’s brute force, although most of the time he’s right in what he does, after all he is the law. The film is stripped back, humour is used when needed, and the action set pieces are exceptional. Urban a long time supporting actor now gets a chance to be front and centre in a franchise that can really go places.
Karl Urban steps into the boots for this outing and complete with grizzled voice that echoes of Clint Eastwood’s Dirty Harry he goes up against female villain Ma-Ma (Headey) who is as nasty as she is ruthless.
Mega City one, set on the East Coast and running from Boston to Washington DC is the Judges stomping ground and its being overrun by a new drug called SLO-MO in which users experience reality at a fraction of the speed. When a routine homicide leads Dredd and rookie Judge Cassandra Anderson (Thirlby) to The Peach Trees, a 200-storey slum tower block (wait, another tower block?), they must fight their way through the scum to get to the top and bring down the prostitute turned drug lord.
The film is certainly grittier and bloodier than its almost comic predecessor, and director Travis does not shy away from this.
An early encounter in which Dredd and Anderson infiltrate a drug house is slowed right down, maybe in some way to mirror the feeling the SLO-MO drug has on its users. Bullets and blood fly as the casualties and body count rise significantly, Dredd quips the occasional one liner with deadpan expression “negotiation’s over. Sentence is death.”
Those that saw The Raid would have been mesmerized by the action which was none stop from start to finish, sadly Dredd doesn’t live up to those high expectations but does its best to stay with mainstream carnage, of which there is plenty to satisfy.
It’s all about the facial expression
Thirlby’s psychic abilities prove useful but almost disappointing that she can second guess her opponents, a mutant, she’d probably fit in well with the X-Men. She’s the sense of reason to Dredd’s brute force, although most of the time he’s right in what he does, after all he is the law. The film is stripped back, humour is used when needed, and the action set pieces are exceptional. Urban a long time supporting actor now gets a chance to be front and centre in a franchise that can really go places.
The Cleaner of Chartres
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'A lovely book ...wise at heart and filled with colourful characters' Joanne Harris, author of...
Matthew Krueger (10051 KP) rated Nosferatu the Vampyre (1979) in Movies
Oct 28, 2020 (Updated Oct 28, 2020)
The Vampire Among Them
Nosferatu The Vampyre- is a very slow movie. Very slow, for 90% of the time nothing happens and when some does happens its only for three minutes max. I always wanted to watch the oringal, never got a chance to, hopefully soon i will. As for this remake its so-so.
The plot: Jonathan Harker is sent away to Count Dracula's castle to sell him a house in Virna, where he lives. But Count Dracula is a vampire, an undead ghoul living off men's blood. Inspired by a photograph of Lucy Harker, Jonathan's wife, Dracula moves to Virna, bringing with him death and plague... An unusually contemplative version of Dracula, in which the vampire bears the cross of not being able to get old and die.
There are two different versions of the film, one in which the actors speak English, and one in which they speak German.
Herzog's production of Nosferatu was very well received by critics and enjoyed a comfortable degree of commercial success.
The film also marks the second of five collaborations between director Herzog and actor Kinski.
While the basic story is derived from Bram Stoker's novel Dracula, director Herzog made the 1979 film primarily as an homage remake of F. W. Murnau's silent film Nosferatu (1922), which differs somewhat from Stoker's original work. The makers of the earlier film could not obtain the rights for a film adaptation of Dracula, so they changed a number of minor details and character names in an unsuccessful attempt to avoid copyright infringement on the intellectual property owned (at the time) by Stoker's widow Florence. A lawsuit was filed, resulting in an order for the destruction of all prints of the film. Some prints survived, and were restored after Florence Stoker had died and the copyright had expired.
By the 1960s and early 1970s the original silent returned to circulation, and was enjoyed by a new generation of moviegoers.
In 1979, by the very day the copyright for Dracula had entered the public domain, Herzog proceeded with his updated version of the classic German film, which could now include the original character names.
Herzog saw his film as a parable about the fragility of order in a staid, bourgeois town. "It is more than a horror film", he says. "Nosferatu is not a monster, but an ambivalent, masterful force of change. When the plague threatens, people throw their property into the streets, they discard their bourgeois trappings. A re‐evaluation
of life and its meaning takes place."
Like i said its a decent movie.
The plot: Jonathan Harker is sent away to Count Dracula's castle to sell him a house in Virna, where he lives. But Count Dracula is a vampire, an undead ghoul living off men's blood. Inspired by a photograph of Lucy Harker, Jonathan's wife, Dracula moves to Virna, bringing with him death and plague... An unusually contemplative version of Dracula, in which the vampire bears the cross of not being able to get old and die.
There are two different versions of the film, one in which the actors speak English, and one in which they speak German.
Herzog's production of Nosferatu was very well received by critics and enjoyed a comfortable degree of commercial success.
The film also marks the second of five collaborations between director Herzog and actor Kinski.
While the basic story is derived from Bram Stoker's novel Dracula, director Herzog made the 1979 film primarily as an homage remake of F. W. Murnau's silent film Nosferatu (1922), which differs somewhat from Stoker's original work. The makers of the earlier film could not obtain the rights for a film adaptation of Dracula, so they changed a number of minor details and character names in an unsuccessful attempt to avoid copyright infringement on the intellectual property owned (at the time) by Stoker's widow Florence. A lawsuit was filed, resulting in an order for the destruction of all prints of the film. Some prints survived, and were restored after Florence Stoker had died and the copyright had expired.
By the 1960s and early 1970s the original silent returned to circulation, and was enjoyed by a new generation of moviegoers.
In 1979, by the very day the copyright for Dracula had entered the public domain, Herzog proceeded with his updated version of the classic German film, which could now include the original character names.
Herzog saw his film as a parable about the fragility of order in a staid, bourgeois town. "It is more than a horror film", he says. "Nosferatu is not a monster, but an ambivalent, masterful force of change. When the plague threatens, people throw their property into the streets, they discard their bourgeois trappings. A re‐evaluation
of life and its meaning takes place."
Like i said its a decent movie.
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Debbiereadsbook (1197 KP) rated Christmas Mountain in Books
Nov 18, 2021
I blooody loved this book!
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book.
Ok So!
I'm not usually one for Christmas books, I'm really not, but something about the blurb pulled at me, and O>M>G I'm so freaking glad it did!
Rami and Fen work together in HMP Manchester. There is much flirting and then Fen makes a move. But life gets in the way and 18months later, Rami is driving up the mountain to see his sister with his 2-year-old nephew in the car. In a snow storm. Ill-prepared. And his car wrecks. And the Good Lord above sees fits to send an angel by the name of Fen to rescue him and Charlie who goes by the name of Fen.
What this is, right, is a beautifully written second chance at love story, it really is. I read it in one sitting and its 200 odd pages long.
Both Fen and Rami are smitten with each other, and they dance around each other for some time before life gets in the way and things happen and then Fen is gone. Rami never did know why. But finding him on his sister's mountain, is a gift sent at just the right time of year. The problem is, both Fen and Rami are carrying a huge amount of emotional and physical baggage.
It takes time for both men to fully get their stories out, and I really did like being made to wait for the full pictures to become clear. I don't like for everything to be thrown at me in one go.
I also loved being made to wait for Fen and Rami to finally, FINALLY have their moment, you know? I mean its full of emotions and steamy bits, but that's all they are for a long time: bits. But once they commit to each other, their relationship and being together, the steam level doesn't rack up too much, it just takes a slide into something more. Something deeper for these two.
I loved the connection to Rami and his sister, that Fen had and they didn't know. I LOVED the sister and her family!
I loved this book, I really did. I could rant and rave and go on and on and on and on andonandonandonandon.....but I won't cos spoilers do not a good review make.
So! For a Christmas book, with the L word bandied about quite early (something else I'm not a fan of!) I'm a big fan of this book!
5 full and shiny stars
same worded review will appear elsewhere
Ok So!
I'm not usually one for Christmas books, I'm really not, but something about the blurb pulled at me, and O>M>G I'm so freaking glad it did!
Rami and Fen work together in HMP Manchester. There is much flirting and then Fen makes a move. But life gets in the way and 18months later, Rami is driving up the mountain to see his sister with his 2-year-old nephew in the car. In a snow storm. Ill-prepared. And his car wrecks. And the Good Lord above sees fits to send an angel by the name of Fen to rescue him and Charlie who goes by the name of Fen.
What this is, right, is a beautifully written second chance at love story, it really is. I read it in one sitting and its 200 odd pages long.
Both Fen and Rami are smitten with each other, and they dance around each other for some time before life gets in the way and things happen and then Fen is gone. Rami never did know why. But finding him on his sister's mountain, is a gift sent at just the right time of year. The problem is, both Fen and Rami are carrying a huge amount of emotional and physical baggage.
It takes time for both men to fully get their stories out, and I really did like being made to wait for the full pictures to become clear. I don't like for everything to be thrown at me in one go.
I also loved being made to wait for Fen and Rami to finally, FINALLY have their moment, you know? I mean its full of emotions and steamy bits, but that's all they are for a long time: bits. But once they commit to each other, their relationship and being together, the steam level doesn't rack up too much, it just takes a slide into something more. Something deeper for these two.
I loved the connection to Rami and his sister, that Fen had and they didn't know. I LOVED the sister and her family!
I loved this book, I really did. I could rant and rave and go on and on and on and on andonandonandonandon.....but I won't cos spoilers do not a good review make.
So! For a Christmas book, with the L word bandied about quite early (something else I'm not a fan of!) I'm a big fan of this book!
5 full and shiny stars
same worded review will appear elsewhere
Lyndsey Gollogly (2893 KP) rated Between Wrath & Mercy ( The Divine Between 1) in Books
Jan 15, 2024
10 of 220
Kindle
Between Wrath & Mercy ( The Divine Between 1)
By Jess Wisecup
⭐️⭐️⭐️⭐️
A mother will do anything to save her child, no matter the cost.
After her daughter is kidnapped, Emmeline Highclere—a thirty-four-year-old mother living in isolation with memories and grief her only companion—must do everything in her limited power and divine abilities to get the girl back.
Emmeline believes her daughter, Elora, is the Beloved—the conduit with goddess-granted divine abilities prophesied to bring peace to the Three Kingdoms. Because the last person thought to be the Beloved was brutally murdered by the enemy kingdom of Folterra, Emmeline has dedicated the last sixteen years to hiding her daughter and keeping her safe. When Elora is kidnapped by a Folterran prince, Emmeline must leave her place of hiding, resolving to do anything to rescue her daughter. But to have any chance against those who took the girl, Emmeline must call upon one of the most powerful conduits in the Three Kingdoms, the Crown Prince of Vesta—the man who broke her heart—and hope he helps her despite their estrangement.
With the weight of his father’s impending death hanging over his head, Crown Prince Rainier has begun to make moves to prove his dedication to assume the role of king. When he is visiting the estate that was once a second home to him, the woman who has long haunted his dreams and consumed his thoughts appears before him, asking for his help to find the child she had with another man. Now, he must decide: does he drop what he is doing to help Emmeline, or does he maintain his unwavering duty to the Crown?
Now, Emmeline and Rainier must work together to find the Beloved—to save the girl from the Folterrans and fulfill the prophecy of peace—while they both battle feelings of remorse, grief, and heartbreak, trying to ignore the heated desire and simmering attraction between them that never left.
This was really good! The characters really draw you in and I love the story. My only issue was it was very repetitive and could have done with a lot less it. I settled for a 4⭐️ as 3 was a bit to low as I did really like it. Also a very abrupt cliffhanger at the end which is Annoying. Oh and how did they not see who the father was from the start?
Kindle
Between Wrath & Mercy ( The Divine Between 1)
By Jess Wisecup
⭐️⭐️⭐️⭐️
A mother will do anything to save her child, no matter the cost.
After her daughter is kidnapped, Emmeline Highclere—a thirty-four-year-old mother living in isolation with memories and grief her only companion—must do everything in her limited power and divine abilities to get the girl back.
Emmeline believes her daughter, Elora, is the Beloved—the conduit with goddess-granted divine abilities prophesied to bring peace to the Three Kingdoms. Because the last person thought to be the Beloved was brutally murdered by the enemy kingdom of Folterra, Emmeline has dedicated the last sixteen years to hiding her daughter and keeping her safe. When Elora is kidnapped by a Folterran prince, Emmeline must leave her place of hiding, resolving to do anything to rescue her daughter. But to have any chance against those who took the girl, Emmeline must call upon one of the most powerful conduits in the Three Kingdoms, the Crown Prince of Vesta—the man who broke her heart—and hope he helps her despite their estrangement.
With the weight of his father’s impending death hanging over his head, Crown Prince Rainier has begun to make moves to prove his dedication to assume the role of king. When he is visiting the estate that was once a second home to him, the woman who has long haunted his dreams and consumed his thoughts appears before him, asking for his help to find the child she had with another man. Now, he must decide: does he drop what he is doing to help Emmeline, or does he maintain his unwavering duty to the Crown?
Now, Emmeline and Rainier must work together to find the Beloved—to save the girl from the Folterrans and fulfill the prophecy of peace—while they both battle feelings of remorse, grief, and heartbreak, trying to ignore the heated desire and simmering attraction between them that never left.
This was really good! The characters really draw you in and I love the story. My only issue was it was very repetitive and could have done with a lot less it. I settled for a 4⭐️ as 3 was a bit to low as I did really like it. Also a very abrupt cliffhanger at the end which is Annoying. Oh and how did they not see who the father was from the start?
Bob Mann (459 KP) rated American Made (2017) in Movies
Sep 29, 2021
Cruise Flying High Again.
If you ask anyone to list the top 10 film actors, chance is that “Tom Cruise” would make many people’s lists. He’s in everything isn’t he? Well, actually, no. Looking at his imdb history, he’s only averaged just over a movie per year for several years. I guess he’s just traditionally made a big impact with the films he’s done. This all rather changed in the last year with his offerings of the rather lacklustre “Jack Reacher: Never Go Back” (FFF) and the pretty dreadful “The Mummy” (Ff) as one of this summer’s big blockbuster disappointments. So Thomas Cruise Mapother IV was sorely in need of a upward turn and fortunately “American Made” delivers in spades.
A quick stop in Nicaragua to pick up some paperwork from Noriega.
“Based on a True Story” this is a biopic on the life of Barry Seal, a hot shot ‘maverick’ (pun intended) TWA pilot who gets drawn into a bizarre but highly lucrative spiral of gun- and drug-running to and from Central America at the behest of a CIA operative Monty Schafer (Domhnall Gleeson). All this is completely mystifying to Barry’s wife Lucy (Sarah Wright) who is, at least not initially, allowed to be ‘in’ on the covert activities.
Flying high over Latin America.
The film is a roller-coaster ride of unbelievable action from beginning to end. In the same manner as you might have thought “that SURELY can’t be true” when watching Spielberg’s “Catch Me If You Can”, this thought constantly flits through your mind. At each turn Seal can’t believe his luck, and Cruise brilliantly portrays the wide-eyed astonishment required. This is a role made for him.
Also delivering his best performance in years is Domhnall Gleeson (“Ex Machina“, “Star Wars: The Force Awakens“) as the CIA man with the (whacky) plan. Large chunks of the film are powered by his manic grin.
Domhnall Gleeson as the CIA man with a sense of Contra-rhythm.
As an actress, Sarah Wright is new to me but as well as being just stunningly photogenic she works with Cruise really well (despite being 20 years his junior – not wanting to be ageist, but this is the second Cruise film in a row I’ve pointed that out!)). Wright also gets my honourary award for the best airplane sex scene this decade!
“Time to pack honey”. Seal (Cruise) delivering a midnight surprise to wife Lucy (Sarah Wright) – and not in a good way.
Written by Gary Spinelli (this being only his second feature) the script is full of wit and panache and – while almost certainly (judging from wiki) stretches the truth as far as Seal’s cash-storage facilities – never completely over-eggs the pudding.
Doug Liman (“Jason Bourne“, “Edge of Tomorrow“) directs brilliantly, giving space among the action for enough character development to make you invest in what happens to the players. The 80’s setting is lovingly crafted with a garish colour-palette with well-chosen documentary video inserts of Carter, Reagan, Oliver Stone, George Bush and others. It also takes really chutzpah to direct a film that (unless I missed it) had neither a title nor any credits until the end.
The real Barry Seal.
The only vaguely negative view I had about this film is that it quietly glosses over the huge pain, death and suffering that the smuggled drugs will be causing to thousands of Americans under the covers. And this mildly guilty thought lingers with you after the lights come up to slightly – just slightly – take the edge off the fun.
Stylish, thrilling, moving and enormously funny in places, this is action cinema at its best. A must see film.
A quick stop in Nicaragua to pick up some paperwork from Noriega.
“Based on a True Story” this is a biopic on the life of Barry Seal, a hot shot ‘maverick’ (pun intended) TWA pilot who gets drawn into a bizarre but highly lucrative spiral of gun- and drug-running to and from Central America at the behest of a CIA operative Monty Schafer (Domhnall Gleeson). All this is completely mystifying to Barry’s wife Lucy (Sarah Wright) who is, at least not initially, allowed to be ‘in’ on the covert activities.
Flying high over Latin America.
The film is a roller-coaster ride of unbelievable action from beginning to end. In the same manner as you might have thought “that SURELY can’t be true” when watching Spielberg’s “Catch Me If You Can”, this thought constantly flits through your mind. At each turn Seal can’t believe his luck, and Cruise brilliantly portrays the wide-eyed astonishment required. This is a role made for him.
Also delivering his best performance in years is Domhnall Gleeson (“Ex Machina“, “Star Wars: The Force Awakens“) as the CIA man with the (whacky) plan. Large chunks of the film are powered by his manic grin.
Domhnall Gleeson as the CIA man with a sense of Contra-rhythm.
As an actress, Sarah Wright is new to me but as well as being just stunningly photogenic she works with Cruise really well (despite being 20 years his junior – not wanting to be ageist, but this is the second Cruise film in a row I’ve pointed that out!)). Wright also gets my honourary award for the best airplane sex scene this decade!
“Time to pack honey”. Seal (Cruise) delivering a midnight surprise to wife Lucy (Sarah Wright) – and not in a good way.
Written by Gary Spinelli (this being only his second feature) the script is full of wit and panache and – while almost certainly (judging from wiki) stretches the truth as far as Seal’s cash-storage facilities – never completely over-eggs the pudding.
Doug Liman (“Jason Bourne“, “Edge of Tomorrow“) directs brilliantly, giving space among the action for enough character development to make you invest in what happens to the players. The 80’s setting is lovingly crafted with a garish colour-palette with well-chosen documentary video inserts of Carter, Reagan, Oliver Stone, George Bush and others. It also takes really chutzpah to direct a film that (unless I missed it) had neither a title nor any credits until the end.
The real Barry Seal.
The only vaguely negative view I had about this film is that it quietly glosses over the huge pain, death and suffering that the smuggled drugs will be causing to thousands of Americans under the covers. And this mildly guilty thought lingers with you after the lights come up to slightly – just slightly – take the edge off the fun.
Stylish, thrilling, moving and enormously funny in places, this is action cinema at its best. A must see film.