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Movie Metropolis (309 KP) rated London Has Fallen (2016) in Movies
Jun 10, 2019
A disgusting attempt at film making
Executives down at Millennium Films must have been rubbing their hands together after the surprise success of their 2013 blockbuster, Olympus Has Fallen. After amassing a respectable $160million against a relatively small budget, a sequel was greenlit as soon as it rolled out of cinemas.
Fast-forward three years and its successor, London Has Fallen, starts off a busy Spring for the film industry. With much of the original cast reprising their roles, can lightning strike again? Or is this a shameless cash in?
Gerard Butler returns as secret agent Mike Banning, with Butler also in a producing role, assigned to protect President Benjamin Asher, Aaron Eckhart also reprising his role, in London as the pair attend the funeral of the British Prime Minister. Naturally, things taken a turn for the worse and both President Asher and Banning are caught in a deadly terrorist attack on the city.
The plot is downright ridiculous with Butler looking almost Terminator-like as he dispatches hundreds of vicious terrorists on the streets of London. Even the President gets in on the action, instead of you know, fleeing for safety like the leader of one of the biggest nations on Earth would do.
With the current climate, London Has Fallen is downright woeful, playing on our fears of urban terrorism like no film before it and after the shocking attacks in Paris last year, and for those still haunted by the memories of 7/7, it is in incredibly poor taste.
The dialogue and numerous plot holes only add salt to the wounds. If this was a serious drama, looking at the appalling ripples terrorism has across the world, then the central premise could be forgiven somewhat, but it isn’t and the uses of comedy throughout are truly dreadful, not once hitting the mark.
Elsewhere, the special effects are some of the worst ever put to film. A helicopter escape across London is laughable and the use of grainy stock footage is far too obvious. It’s clear that director Babak Najafi couldn’t film certain scenes on his tiny budget, instead deciding that dated archive footage was a reasonable substitute – it isn’t.
But by far the worst part of London Has Fallen is how it wastes its talented cast. Morgan Freeman, who stars as Vice President Allan Trumble, is leagues above the standard of this atrocity, and somehow manages to provide a sense of class throughout.
The cinematography is awful, especially towards the film’s sickly sweet finale, and many in the unsuspecting audience said it looked like a third-person video game as Gerard Butler somersaults his way around a poorly-lit construction site.
Overall, London Has Fallen is an appalling excuse for a film. As well as wasting a great cast, it continuously wields one of the world’s greatest fears like a child who’s found his dad’s gun, and for me, that is unforgivable. It may cram a lot of things into 99 minutes, but not a single one is done with any passion.
https://moviemetropolis.net/2016/03/06/a-disgusting-attempt-at-film-making-london-has-fallen-review/
Fast-forward three years and its successor, London Has Fallen, starts off a busy Spring for the film industry. With much of the original cast reprising their roles, can lightning strike again? Or is this a shameless cash in?
Gerard Butler returns as secret agent Mike Banning, with Butler also in a producing role, assigned to protect President Benjamin Asher, Aaron Eckhart also reprising his role, in London as the pair attend the funeral of the British Prime Minister. Naturally, things taken a turn for the worse and both President Asher and Banning are caught in a deadly terrorist attack on the city.
The plot is downright ridiculous with Butler looking almost Terminator-like as he dispatches hundreds of vicious terrorists on the streets of London. Even the President gets in on the action, instead of you know, fleeing for safety like the leader of one of the biggest nations on Earth would do.
With the current climate, London Has Fallen is downright woeful, playing on our fears of urban terrorism like no film before it and after the shocking attacks in Paris last year, and for those still haunted by the memories of 7/7, it is in incredibly poor taste.
The dialogue and numerous plot holes only add salt to the wounds. If this was a serious drama, looking at the appalling ripples terrorism has across the world, then the central premise could be forgiven somewhat, but it isn’t and the uses of comedy throughout are truly dreadful, not once hitting the mark.
Elsewhere, the special effects are some of the worst ever put to film. A helicopter escape across London is laughable and the use of grainy stock footage is far too obvious. It’s clear that director Babak Najafi couldn’t film certain scenes on his tiny budget, instead deciding that dated archive footage was a reasonable substitute – it isn’t.
But by far the worst part of London Has Fallen is how it wastes its talented cast. Morgan Freeman, who stars as Vice President Allan Trumble, is leagues above the standard of this atrocity, and somehow manages to provide a sense of class throughout.
The cinematography is awful, especially towards the film’s sickly sweet finale, and many in the unsuspecting audience said it looked like a third-person video game as Gerard Butler somersaults his way around a poorly-lit construction site.
Overall, London Has Fallen is an appalling excuse for a film. As well as wasting a great cast, it continuously wields one of the world’s greatest fears like a child who’s found his dad’s gun, and for me, that is unforgivable. It may cram a lot of things into 99 minutes, but not a single one is done with any passion.
https://moviemetropolis.net/2016/03/06/a-disgusting-attempt-at-film-making-london-has-fallen-review/
Movie Metropolis (309 KP) rated Maze Runner: The Scorch Trials (2015) in Movies
Jun 10, 2019
A Vast Improvement
The Young Adult genre has, for the last few years, been dominated by Jennifer Lawrence and her imposing Katniss Everdeen, and as fans prepare for the conclusion of Mockingjay in November, they can whet their appetites for the conclusion of another YA trilogy.
The Maze Runner was a decent, albeit muddled attempt at getting the coveted young adult audience interested in another series and its sequel, The Scorch Trials promises more of the mind-blowing storytelling of its predecessor, but is it a success?
The plot of Scorch Trials takes place immediately after the events of the previous instalment as a group of teenagers battle against the sinister W.C.K.D, an organisation intent on finding a cure for a virus that has ravished Earth.
Amongst them is leader Thomas (Teen Wolf’s Dylan O’Brien), the Katniss Everdeen of this particular series, Theresa (Skins’ Kaya Scodelario) and Newt (Love Actually’s Thomas Brodie-Sangster). There are numerous other characters in the group but they aren’t fleshed out enough to make an impact on screen.
Unfortunately, character development is a serious problem throughout, with only a handful of the large cast having enough of a backstory to make the memorable. O’Brien is particularly likeable as the confused Thomas and his more reserved persona is a pleasant change to the majority of lead characters in the genre.
Of the adult cast, Aidan Gillen does a sterling effort as the mysterious Janson and Giancarlo Esposito is perhaps the best character in the entire film with his portrayal of Jorge – a bargain hunter and ally of the group.
A much larger budget has done wonders for the series’ set-pieces. This is a particularly striking movie with numerous heart-racing action sequences filmed with a mixture of stunning CGI and breath-taking practical effects, a desert thunderstorm is beautifully filmed and a particular highlight.
The desolate landscapes and ruined cities give the film more than a whiff of Mad Max and I Am Legend with the latter being very similar.
These pulse-raising scenes do not do Scorch Trials’ dialogue any good however. The characters don’t get much to say apart from “Run” and “Look out” and the series lacks the powerful communication that The Hunger Games has become known for.
Nevertheless, those coming to the series without reading the books will find much to enjoy here as the plot is impossible to guess – there’s simply no way of knowing what is going to happen from one moment to the next.
It’s worth noting that this is a very dark film with a tone unlike anything else seen in the genre. The 12A certification given to it seems a little too lenient and in parts The Scorch Trials is deeply unnerving.
Maze Runner: The Scorch Trials is, on the whole, a fantastically enjoyable romp in spite of its excessive length and flat characters. It’s not quite up to the standards of The Hunger Games series but surpasses its Divergent franchise counterparts by some margin and is well worth a trip to the cinema.
https://moviemetropolis.net/2015/09/13/a-vast-improvement-maze-runner-the-scorch-trials-review/
The Maze Runner was a decent, albeit muddled attempt at getting the coveted young adult audience interested in another series and its sequel, The Scorch Trials promises more of the mind-blowing storytelling of its predecessor, but is it a success?
The plot of Scorch Trials takes place immediately after the events of the previous instalment as a group of teenagers battle against the sinister W.C.K.D, an organisation intent on finding a cure for a virus that has ravished Earth.
Amongst them is leader Thomas (Teen Wolf’s Dylan O’Brien), the Katniss Everdeen of this particular series, Theresa (Skins’ Kaya Scodelario) and Newt (Love Actually’s Thomas Brodie-Sangster). There are numerous other characters in the group but they aren’t fleshed out enough to make an impact on screen.
Unfortunately, character development is a serious problem throughout, with only a handful of the large cast having enough of a backstory to make the memorable. O’Brien is particularly likeable as the confused Thomas and his more reserved persona is a pleasant change to the majority of lead characters in the genre.
Of the adult cast, Aidan Gillen does a sterling effort as the mysterious Janson and Giancarlo Esposito is perhaps the best character in the entire film with his portrayal of Jorge – a bargain hunter and ally of the group.
A much larger budget has done wonders for the series’ set-pieces. This is a particularly striking movie with numerous heart-racing action sequences filmed with a mixture of stunning CGI and breath-taking practical effects, a desert thunderstorm is beautifully filmed and a particular highlight.
The desolate landscapes and ruined cities give the film more than a whiff of Mad Max and I Am Legend with the latter being very similar.
These pulse-raising scenes do not do Scorch Trials’ dialogue any good however. The characters don’t get much to say apart from “Run” and “Look out” and the series lacks the powerful communication that The Hunger Games has become known for.
Nevertheless, those coming to the series without reading the books will find much to enjoy here as the plot is impossible to guess – there’s simply no way of knowing what is going to happen from one moment to the next.
It’s worth noting that this is a very dark film with a tone unlike anything else seen in the genre. The 12A certification given to it seems a little too lenient and in parts The Scorch Trials is deeply unnerving.
Maze Runner: The Scorch Trials is, on the whole, a fantastically enjoyable romp in spite of its excessive length and flat characters. It’s not quite up to the standards of The Hunger Games series but surpasses its Divergent franchise counterparts by some margin and is well worth a trip to the cinema.
https://moviemetropolis.net/2015/09/13/a-vast-improvement-maze-runner-the-scorch-trials-review/
Movie Metropolis (309 KP) rated Despicable Me 3 (2017) in Movies
Jun 10, 2019
A disjointed third outing
They’re back. After the ridiculous success of Minions in 2015, Universal pressed ahead with a sequel to their other ridiculously successful animated franchise, Despicable Me.
The first two films were a delightful, if uneven adventure with everybody’s favourite yellow tic-tacs getting their standalone movie that grossed over $1billion. I know, I can’t believe it either.
Now, supervillain turned doting dad Gru is back for another round of animated mayhem. But is this third outing as enjoyable as its predecessors? Or are we starting to feel franchise fatigue?
The mischievous yet hopelessly adorable Minions hope that boss Gru (Steve Carell) will return to a life of crime after the Anti-Villain League fires him. Instead, he travels to Freedonia to meet his long-lost twin brother for the very first time. The siblings soon find themselves in a bickering alliance to take down supervillain Balthazar Bratt (Trey Parker), a child star from the 1980s who seeks revenge against the people who ended his career.
Universal have, rightly or wrongly, not messed with the formula that made the first two films such smash hits. That means you get the same uniquely animated world and characters with a reasonably engaging story that doesn’t ask too much of its audience. There is one difference however, the Minions. After the success of their own film, their presence here is notably jacked up – they’re given their own side quest and that is where we run into some problems.
The sacrifice made to accommodate this extra plot is a disjointed film that switches quite jarringly between each particular story point. One minute we’re tracking unicorns with Agnes, Margot and Edith, the next we’re joining the Minions and five minutes later we’re watching Gru strut his stuff against Balthazar Bratt.
Kids will love it, there’s no doubt about it and it’s sure to bring in the big bucks for Universal, but children’s films have become so much more than just bright colours, fart jokes and fragmented story points. Take 2015’s Inside Out for example or How to Train Your Dragon 2, the very pinnacle of animation.
There’s nothing fundamentally wrong with Despicable Me 3, the voice cast are all on point, Kristen Wiig is a joy as Lucy, and the animation is slick and colourful, but the bar has been set extraordinarily high.
Nevertheless, Trey Parker’s turn as villain Balthazar Bratt is great fun and he’s a brilliant antagonist throughout. See Marvel, it can be done.
There are moments of excellence here. Mature themes about growing up creep in to genuinely sweet moments, but they’re few and far between as the film steamrolls into a fun if generic final act.
Overall, there’s no doubt that Despicable Me 3 is going to be one of the biggest hits of the year. Packed with lovely animation, a great retro soundtrack, Minions and wonderful voice acting, it’s got all the ingredients for success; I just wish it had the guts to change the formula a little.
Cue the Minion memes in 3, 2, 1…
https://moviemetropolis.net/2017/07/01/despicable-me-3-review/
The first two films were a delightful, if uneven adventure with everybody’s favourite yellow tic-tacs getting their standalone movie that grossed over $1billion. I know, I can’t believe it either.
Now, supervillain turned doting dad Gru is back for another round of animated mayhem. But is this third outing as enjoyable as its predecessors? Or are we starting to feel franchise fatigue?
The mischievous yet hopelessly adorable Minions hope that boss Gru (Steve Carell) will return to a life of crime after the Anti-Villain League fires him. Instead, he travels to Freedonia to meet his long-lost twin brother for the very first time. The siblings soon find themselves in a bickering alliance to take down supervillain Balthazar Bratt (Trey Parker), a child star from the 1980s who seeks revenge against the people who ended his career.
Universal have, rightly or wrongly, not messed with the formula that made the first two films such smash hits. That means you get the same uniquely animated world and characters with a reasonably engaging story that doesn’t ask too much of its audience. There is one difference however, the Minions. After the success of their own film, their presence here is notably jacked up – they’re given their own side quest and that is where we run into some problems.
The sacrifice made to accommodate this extra plot is a disjointed film that switches quite jarringly between each particular story point. One minute we’re tracking unicorns with Agnes, Margot and Edith, the next we’re joining the Minions and five minutes later we’re watching Gru strut his stuff against Balthazar Bratt.
Kids will love it, there’s no doubt about it and it’s sure to bring in the big bucks for Universal, but children’s films have become so much more than just bright colours, fart jokes and fragmented story points. Take 2015’s Inside Out for example or How to Train Your Dragon 2, the very pinnacle of animation.
There’s nothing fundamentally wrong with Despicable Me 3, the voice cast are all on point, Kristen Wiig is a joy as Lucy, and the animation is slick and colourful, but the bar has been set extraordinarily high.
Nevertheless, Trey Parker’s turn as villain Balthazar Bratt is great fun and he’s a brilliant antagonist throughout. See Marvel, it can be done.
There are moments of excellence here. Mature themes about growing up creep in to genuinely sweet moments, but they’re few and far between as the film steamrolls into a fun if generic final act.
Overall, there’s no doubt that Despicable Me 3 is going to be one of the biggest hits of the year. Packed with lovely animation, a great retro soundtrack, Minions and wonderful voice acting, it’s got all the ingredients for success; I just wish it had the guts to change the formula a little.
Cue the Minion memes in 3, 2, 1…
https://moviemetropolis.net/2017/07/01/despicable-me-3-review/
Movie Metropolis (309 KP) rated Minions (2015) in Movies
Jun 10, 2019
Bright, smart and hilarious
They’re everywhere! Minions have become a worldwide phenomenon since their unveiling in 2010’s smash-hit Despicable Me and for their return in its sequel.
It was only a matter of time before Universal gave their most successful animated franchise a prequel, and allowing it to focus on the cute yellow creatures was a masterstroke by the people behind the scenes. No matter where you go there is something minion related to buy.
But the question is, does a film based on them truly work? After all, it’s their evil master Gru who is the main focus of the previous features.
Minions follows the history of the loveable race from humble beginnings serving an unlucky Tyrannosaurus right up to the moment they meet their aforementioned boss in a film packed full of colour and imagination.
After a history lesson narrated by the wonderful Geoffrey Rush, we find three plucky minions – Kevin, Stuart and the adorable Bob (accompanied by teddy Tim) as they are about to embark on a mission to find the most evil boss in the world.
Stumbling across the wicked Scarlet Overkill (voiced beautifully by Sandra Bullock) along the way, the trio think they have found everything they ever wanted right here in England.
Seeing London realised in animation as excellent as that in Minions is a joy. The city is a hive of activity with every frame being filled to the brim with tiny details like stained-glass windows, bees, rats, telephone boxes and fluttering flags. It’s just a shame we don’t get to see it more.
Naturally the English stereotypes come out in full force with tea-drinking newsreaders and policemen, but they’re done in such good taste you can’t help but laugh.
This is where Minions excels. Its humour is sublime. The kids will be rolling around in the aisles one moment, with adults finding something equally as hilarious the next – this is how a family film should be. There are pop culture references abound and even some nods to previous US presidents.
Kevin, Bob and Stuart are the perfect trio to spend 90 minutes with. Each of them have rich personalities that feel like they’ve been cleverly crafted to ensure you find a bit of yourself in each – I know, it sounds ridiculous.
Unfortunately, the story runs a little out of puff towards the film’s climax. It delves into unnecessarily silly territory when it really doesn’t need to and it’s a shame that a smart kid’s movie like this feels the need to dumb it all down.
Thankfully, it picks up again in the last 15 minutes and makes for a truly memorable ending.
Overall, Minions is a funny, charming and well-paced film that confirms what we all feared – Britain is obsessed by minions. The animation and humour are both sublime with only an exhausted plot stopping it from achieving greatness.
One thing’s for sure though, that obsession your child has with the pill-shaped creatures, it won’t be going away any time soon. Minions – me ti amo (I love you in Minionese).
https://moviemetropolis.net/2015/06/28/bright-smart-and-hilarious-minions-review/
It was only a matter of time before Universal gave their most successful animated franchise a prequel, and allowing it to focus on the cute yellow creatures was a masterstroke by the people behind the scenes. No matter where you go there is something minion related to buy.
But the question is, does a film based on them truly work? After all, it’s their evil master Gru who is the main focus of the previous features.
Minions follows the history of the loveable race from humble beginnings serving an unlucky Tyrannosaurus right up to the moment they meet their aforementioned boss in a film packed full of colour and imagination.
After a history lesson narrated by the wonderful Geoffrey Rush, we find three plucky minions – Kevin, Stuart and the adorable Bob (accompanied by teddy Tim) as they are about to embark on a mission to find the most evil boss in the world.
Stumbling across the wicked Scarlet Overkill (voiced beautifully by Sandra Bullock) along the way, the trio think they have found everything they ever wanted right here in England.
Seeing London realised in animation as excellent as that in Minions is a joy. The city is a hive of activity with every frame being filled to the brim with tiny details like stained-glass windows, bees, rats, telephone boxes and fluttering flags. It’s just a shame we don’t get to see it more.
Naturally the English stereotypes come out in full force with tea-drinking newsreaders and policemen, but they’re done in such good taste you can’t help but laugh.
This is where Minions excels. Its humour is sublime. The kids will be rolling around in the aisles one moment, with adults finding something equally as hilarious the next – this is how a family film should be. There are pop culture references abound and even some nods to previous US presidents.
Kevin, Bob and Stuart are the perfect trio to spend 90 minutes with. Each of them have rich personalities that feel like they’ve been cleverly crafted to ensure you find a bit of yourself in each – I know, it sounds ridiculous.
Unfortunately, the story runs a little out of puff towards the film’s climax. It delves into unnecessarily silly territory when it really doesn’t need to and it’s a shame that a smart kid’s movie like this feels the need to dumb it all down.
Thankfully, it picks up again in the last 15 minutes and makes for a truly memorable ending.
Overall, Minions is a funny, charming and well-paced film that confirms what we all feared – Britain is obsessed by minions. The animation and humour are both sublime with only an exhausted plot stopping it from achieving greatness.
One thing’s for sure though, that obsession your child has with the pill-shaped creatures, it won’t be going away any time soon. Minions – me ti amo (I love you in Minionese).
https://moviemetropolis.net/2015/06/28/bright-smart-and-hilarious-minions-review/
Movie Metropolis (309 KP) rated A Monster Calls (2016) in Movies
Jun 10, 2019
A Masterpiece
J.A. Bayona is one of the most exciting rising stars behind the camera lens. His knack for creating superbly shot, engaging films like The Orphanage and The Impossible has meant many in Hollywood have been keeping an intrigued eye on him.
His hard work paid off last year when it was announced he would be taking over directorial duties on the as yet unnamed Jurassic World sequel. In the meantime, Bayona has been busy working on A Monster Calls, based on the book of the same name by Patrick Ness, but does it continue the director’s brilliant work?
12-year-old Conor (Lewis MacDougall), dealing with his mother’s (Felicity Jones) illness, a less-than-sympathetic grandmother (Sigourney Weaver), and bullying classmates, finds a most unlikely ally when a Monster (Liam Neeson) appears at his bedroom window. Ancient, wild, and relentless, the Monster guides Conor on a journey of courage, faith, and truth through three dramatic tales.
The first thing to say is that the film is visually stunning with detail seeping from every frame. Every shot is breath-taking in its own way and the tall tales in which Liam Neeson’s booming voice narrate are beautiful. Bayona yet again demonstrates his flair for cinematography, but this time his creativeness is set free in Conor’s imagination, where he literally paints pictures with superb animations.
Acting wise, A Monster Calls is sublime. With talent like Liam Neeson, Sigourney Weaver and Felicity Jones making up the bulk of the cast, you’d be forgiven for thinking it’d be easy for newcomer Lewis MacDougall to get lost in the fray, but he doesn’t. His performance throughout the film is exceptional and the chemistry he shares with on-screen mum Felicity is entirely believable, making his plight all the more heart-breaking.
But the real winners here are the special effects. Liam Neeson’s gravelly tone lends itself perfectly to creating ‘the Monster’ in all its woody glory. The incredible CGI used to bring him to life is some of the best I’ve ever seen, all the more remarkable given the film’s relatively modest $43million budget. The effects are better than those in some blockbusters costing three times this.
Then there’s the plot. Essentially a coming of age story as one young man tries desperately to hang on to his youth and escape the tragedies of life; A Monster Calls is one of the most heartfelt and emotionally resonant films in the genre. It is a testament to author and screenwriter Patrick Ness that his novel’s gut-wrenching themes are carried across perfectly to the silver screen; that is by no means an easy thing to accomplish.
Overall, A Monster Calls is a mesmerising 115 minutes that stays with you long after the end credits roll. Everything from the acting to the direction is spot on, with the story being relatable to every single one of us. This time last year I was sat in the cinema watching Daddy’s Home; what a difference 12 months makes.
https://moviemetropolis.net/2017/01/07/a-masterpiece-a-monster-calls-review/
His hard work paid off last year when it was announced he would be taking over directorial duties on the as yet unnamed Jurassic World sequel. In the meantime, Bayona has been busy working on A Monster Calls, based on the book of the same name by Patrick Ness, but does it continue the director’s brilliant work?
12-year-old Conor (Lewis MacDougall), dealing with his mother’s (Felicity Jones) illness, a less-than-sympathetic grandmother (Sigourney Weaver), and bullying classmates, finds a most unlikely ally when a Monster (Liam Neeson) appears at his bedroom window. Ancient, wild, and relentless, the Monster guides Conor on a journey of courage, faith, and truth through three dramatic tales.
The first thing to say is that the film is visually stunning with detail seeping from every frame. Every shot is breath-taking in its own way and the tall tales in which Liam Neeson’s booming voice narrate are beautiful. Bayona yet again demonstrates his flair for cinematography, but this time his creativeness is set free in Conor’s imagination, where he literally paints pictures with superb animations.
Acting wise, A Monster Calls is sublime. With talent like Liam Neeson, Sigourney Weaver and Felicity Jones making up the bulk of the cast, you’d be forgiven for thinking it’d be easy for newcomer Lewis MacDougall to get lost in the fray, but he doesn’t. His performance throughout the film is exceptional and the chemistry he shares with on-screen mum Felicity is entirely believable, making his plight all the more heart-breaking.
But the real winners here are the special effects. Liam Neeson’s gravelly tone lends itself perfectly to creating ‘the Monster’ in all its woody glory. The incredible CGI used to bring him to life is some of the best I’ve ever seen, all the more remarkable given the film’s relatively modest $43million budget. The effects are better than those in some blockbusters costing three times this.
Then there’s the plot. Essentially a coming of age story as one young man tries desperately to hang on to his youth and escape the tragedies of life; A Monster Calls is one of the most heartfelt and emotionally resonant films in the genre. It is a testament to author and screenwriter Patrick Ness that his novel’s gut-wrenching themes are carried across perfectly to the silver screen; that is by no means an easy thing to accomplish.
Overall, A Monster Calls is a mesmerising 115 minutes that stays with you long after the end credits roll. Everything from the acting to the direction is spot on, with the story being relatable to every single one of us. This time last year I was sat in the cinema watching Daddy’s Home; what a difference 12 months makes.
https://moviemetropolis.net/2017/01/07/a-masterpiece-a-monster-calls-review/
Movie Metropolis (309 KP) rated Zoolander 2 (2016) in Movies
Jun 10, 2019
A Fashion Faux pas
It pains me to say it, but Ben Stiller hasn’t really been relevant for quite some time. His last film, the final movie in the Night at the Museum franchise struggled with critics and audiences alike.
Once dubbed part of the so-called “Fratpack”, alongside Will Ferrell, Owen Wilson and Vince Vaughn to name a few, their success has fallen by the wayside since introducing rising stars like Melissa McCarthy and Chris Pratt to the comedy genre.
Here, Stiller gives one of his most memorable characters, Derek Zoolander, a sequel that no-one was really asking for. But is it worthy of your time?
In Zoolander 2, titular male model Derek Zoolander has fallen out of favour with the public and has retreated into hiding away from the prying eyes of the media to focus on getting his life back together. By a stroke of luck, a chance encounter with old friend Hansel (Owen Wilson) sets them on a path to help stop high-profile celebrity deaths, finding out who is behind them in the process.
The story is a little nondescript with the intentions of both the ‘heroes’ and ‘villains’ not quite clear. There are elements of the first live-action Scooby Doo film in its design – and that’s not a good thing.
An all-star cast that includes the exceptionally beautiful Penelope Cruz, Will Ferrell and Kristen Wiig is bolstered by more celebrity cameos than you can shake a stick at. Justin Bieber, Anna Wintour, Sting, Ariana Grande, MC Hammer and Kiefer Sutherland are just a few on a list that is nearly endless.
Unfortunately, these cameos are the highlights in a film full of recycled gags and very poor camerawork. As we follow our two leads on their journey across a dreary looking Rome, Zoolander 2 drags with only a couple of laughs in the first hour – something the first one managed to avoid.
In fact, things are so bad, they only pick up in the final 30 minutes when Will Ferrell’s villain Mugatu makes a much-needed appearance, steering this near-trainwreck of a comedy into fairly decent territory. Ferrel’s comic timing is as usual, on point, but it’s unfortunate he puts Stiller and Wilson to shame.
Penelope Cruz is her ever-watchable self but piles on the shtick to such an extent that it takes away from her character, making her almost cartoonish in personality and actions.
Elsewhere, the clever parodies relating to the fashion industry are taken away; instead Zoolander 2 is lumped with cheap laughs that constantly try too hard to raise even the smallest smirk from its audience.
Overall, Zoolander 2 is not a patch on its predecessor with Will Ferrell providing the film with its only genuine moments of hilarity and this comes within the final 30 minutes of a 102 minute feature. Stiller may have tried to resurrect one of his finest characters, but in doing so, has tarnished that reputation.
Much like its lead star, Zoolander 2 tries desperately to stay relevant, and unfortunately this type of comedy just doesn’t cut the mustard anymore.
https://moviemetropolis.net/2016/02/21/a-fashion-faux-pas-zoolander-2-review/
Once dubbed part of the so-called “Fratpack”, alongside Will Ferrell, Owen Wilson and Vince Vaughn to name a few, their success has fallen by the wayside since introducing rising stars like Melissa McCarthy and Chris Pratt to the comedy genre.
Here, Stiller gives one of his most memorable characters, Derek Zoolander, a sequel that no-one was really asking for. But is it worthy of your time?
In Zoolander 2, titular male model Derek Zoolander has fallen out of favour with the public and has retreated into hiding away from the prying eyes of the media to focus on getting his life back together. By a stroke of luck, a chance encounter with old friend Hansel (Owen Wilson) sets them on a path to help stop high-profile celebrity deaths, finding out who is behind them in the process.
The story is a little nondescript with the intentions of both the ‘heroes’ and ‘villains’ not quite clear. There are elements of the first live-action Scooby Doo film in its design – and that’s not a good thing.
An all-star cast that includes the exceptionally beautiful Penelope Cruz, Will Ferrell and Kristen Wiig is bolstered by more celebrity cameos than you can shake a stick at. Justin Bieber, Anna Wintour, Sting, Ariana Grande, MC Hammer and Kiefer Sutherland are just a few on a list that is nearly endless.
Unfortunately, these cameos are the highlights in a film full of recycled gags and very poor camerawork. As we follow our two leads on their journey across a dreary looking Rome, Zoolander 2 drags with only a couple of laughs in the first hour – something the first one managed to avoid.
In fact, things are so bad, they only pick up in the final 30 minutes when Will Ferrell’s villain Mugatu makes a much-needed appearance, steering this near-trainwreck of a comedy into fairly decent territory. Ferrel’s comic timing is as usual, on point, but it’s unfortunate he puts Stiller and Wilson to shame.
Penelope Cruz is her ever-watchable self but piles on the shtick to such an extent that it takes away from her character, making her almost cartoonish in personality and actions.
Elsewhere, the clever parodies relating to the fashion industry are taken away; instead Zoolander 2 is lumped with cheap laughs that constantly try too hard to raise even the smallest smirk from its audience.
Overall, Zoolander 2 is not a patch on its predecessor with Will Ferrell providing the film with its only genuine moments of hilarity and this comes within the final 30 minutes of a 102 minute feature. Stiller may have tried to resurrect one of his finest characters, but in doing so, has tarnished that reputation.
Much like its lead star, Zoolander 2 tries desperately to stay relevant, and unfortunately this type of comedy just doesn’t cut the mustard anymore.
https://moviemetropolis.net/2016/02/21/a-fashion-faux-pas-zoolander-2-review/
Movie Metropolis (309 KP) rated The Purge: Election Year (2016) in Movies
Jun 11, 2019
Deathly Dull
The Purge series has set itself as one of the front-runners in modern horror. The first film, starring Ethan Hawke, was a huge success, bringing with it one of the best stories seen in the genre for decades.
Its successor, Anarchy, was warmly received – namely for its greater focus on the night of crime itself, rather than the plight of one family. Naturally, another sequel was always going to be on the cards and Election Year continues the franchise. But does it continue the positive trend?
With only one returning cast member, Frank Grillo’s brooding Leo Barnes, The Purge: Election Year goes for a more political approach than its horror-rooted predecessors and director James DeMonaco was brave in altering the formula. He gets through it – but only by the skin of his teeth.
As a young girl, Senator Charlie Roan (Elizabeth Mitchell) survived the annual night of lawlessness that took the lives of her family members. As a presidential candidate, Roan is determined to end the yearly tradition of blood lust once and for all. When her opponents hatch a deadly scheme, the senator finds herself trapped on the streets of Washington, D.C., just as the latest Purge gets underway. Now, it’s up to Leo Barnes (Frank Grillo), her head of security, to keep her alive during the next 12 hours of mayhem.
The first major stumbling block Election Year faces is its lack of originality. Yes, the basic formula goes for a more political tone but the story itself is a near carbon copy of its predecessor. It’s unfortunate that once again, despite the plight of fans, the production studio continues to overlook the most fascinating part of the Purge, its inception.
Once again we are forced to sit through the hack and slash killings, only this time the acting isn’t as good and the majority of scares are signposted from the off. The ones that aren’t; well they’re in the trailer. It’s such a shame that a series with such promise has resorted to rehashing the same “tricks” to sell tickets.
The cast gel together well but the acting is below par and the dialogue is at times, dreadful with the same three expletives doing the rounds from character to character. Frank Grillo is underused with Elizabeth Mitchell’s preachy politician mistakenly put in the foreground. By far the most interesting person throughout the course of the film is Mykelti Williamson’s deli owner Joe, but he is lumbered with shockingly bad catchphrases.
The cinematography is very plain and the city setting isn’t utilised well at all. Washington should’ve been an exceptional place to helm a film about a night of legalised murder, but instead the audience is confined to its dimly-lit backstreets and alleys.
Overall, The Purge: Election Year is a step in the wrong direction for a series that showed such promise. Creating a film that, despite its intriguing political intentions, is exactly the same as its predecessor is sheer laziness and I don’t like to use this word when reviewing films, but it’s just completely and utterly boring.
https://moviemetropolis.net/2016/08/26/deathly-dull-the-purge-election-year-review/
Its successor, Anarchy, was warmly received – namely for its greater focus on the night of crime itself, rather than the plight of one family. Naturally, another sequel was always going to be on the cards and Election Year continues the franchise. But does it continue the positive trend?
With only one returning cast member, Frank Grillo’s brooding Leo Barnes, The Purge: Election Year goes for a more political approach than its horror-rooted predecessors and director James DeMonaco was brave in altering the formula. He gets through it – but only by the skin of his teeth.
As a young girl, Senator Charlie Roan (Elizabeth Mitchell) survived the annual night of lawlessness that took the lives of her family members. As a presidential candidate, Roan is determined to end the yearly tradition of blood lust once and for all. When her opponents hatch a deadly scheme, the senator finds herself trapped on the streets of Washington, D.C., just as the latest Purge gets underway. Now, it’s up to Leo Barnes (Frank Grillo), her head of security, to keep her alive during the next 12 hours of mayhem.
The first major stumbling block Election Year faces is its lack of originality. Yes, the basic formula goes for a more political tone but the story itself is a near carbon copy of its predecessor. It’s unfortunate that once again, despite the plight of fans, the production studio continues to overlook the most fascinating part of the Purge, its inception.
Once again we are forced to sit through the hack and slash killings, only this time the acting isn’t as good and the majority of scares are signposted from the off. The ones that aren’t; well they’re in the trailer. It’s such a shame that a series with such promise has resorted to rehashing the same “tricks” to sell tickets.
The cast gel together well but the acting is below par and the dialogue is at times, dreadful with the same three expletives doing the rounds from character to character. Frank Grillo is underused with Elizabeth Mitchell’s preachy politician mistakenly put in the foreground. By far the most interesting person throughout the course of the film is Mykelti Williamson’s deli owner Joe, but he is lumbered with shockingly bad catchphrases.
The cinematography is very plain and the city setting isn’t utilised well at all. Washington should’ve been an exceptional place to helm a film about a night of legalised murder, but instead the audience is confined to its dimly-lit backstreets and alleys.
Overall, The Purge: Election Year is a step in the wrong direction for a series that showed such promise. Creating a film that, despite its intriguing political intentions, is exactly the same as its predecessor is sheer laziness and I don’t like to use this word when reviewing films, but it’s just completely and utterly boring.
https://moviemetropolis.net/2016/08/26/deathly-dull-the-purge-election-year-review/
Movie Metropolis (309 KP) rated The Huntsman: Winter's War (2016) in Movies
Jun 11, 2019
Hemsworth and Chastain Disappoint
Snow White & the Huntsman was a film that garnered much more attention than it deserved, purely because of the goings on behind the scenes between Twilight starlet, Kristen Stewart and director Rupert Sanders. The film itself was a hollow take on the classic fairy-tale that lacked the magic and sparkle of Disney’s wonderful animation.
It’s fair to say then that it never really deserved any kind of follow up, despite a charismatic performance from the wonderful Charlize Theron. Nevertheless, Universal Studios approved another film soon after its release. But is The Huntsman: Winter’s War better than what came before it?
Taking place before and directly alongside the events of its predecessor, Winter’s War follows Emily Blunt’s Ice Queen, Freya, as she struggles to come to terms with the death of her baby. She becomes so consumed by rage and guilt that she banishes herself to an ice castle, much like Elsa from Frozen, training an army of kidnapped children to pass her time.
Chris Hemsworth and Jessica Chastain star as two of these warriors, taken from their families at a young age and taught how to fight and how to block out any feelings of love – as per the Queen’s orders. Naturally, this becomes increasingly difficult and provides the film with its romantic subplot.
Unfortunately, the usually excellent Hemsworth and former Oscar-winner Chastain have next-to-no chemistry and their truly dreadful Celtic accents stop the film dead in its tracks. It’s a shame that Winter’s War relies so heavily on these two when Emily Blunt and a sorely underused Charlize Theron are much, much better.
So much better in fact that the screen comes alive whenever they are on screen, whether that is together or flying solo. Blunt suffers slightly due to the nature of her role, after all, she is known to be a bubbly and happy-go-lucky person, but her Ice Queen is mesmerising and heart-breaking to watch nonetheless.
Theron steals the show yet again, despite her lack of screen time and as she did in its predecessor, lifts Winter’s War well above its average plot and dialogue. Elsewhere, British favourite Sheridan Smith is a pleasant comedic break as a foul-mouthed dwarf.
The cinematography is on the whole very good, with pleasant landscapes, reminiscent of Harry Potter dotted alongside CGI castles, polar bears and goblins. The use of practical effects by first-time director Cedric Nicolas-Troyan is also a pleasure to see in this day and age.
Alas, the plot and dialogue of Winter’s War leaves much to be desired and the lack of screen time for Blunt and Theron hampers what could have been an interesting and unique backstory for this particular duo of films.
Overall, The Huntsman: Winter’s War is an average film hampered further by its two leading stars. Fortunately, the inclusion of Blunt and Theron manages to lift it slightly above the standard of its predecessor, but not by enough for it to warrant another follow up. However, the signposts throughout the 115 minute running time confess a sequel is more than likely.
https://moviemetropolis.net/2016/04/07/hemsworth-and-chastain-disappoint-the-huntsman-review/
It’s fair to say then that it never really deserved any kind of follow up, despite a charismatic performance from the wonderful Charlize Theron. Nevertheless, Universal Studios approved another film soon after its release. But is The Huntsman: Winter’s War better than what came before it?
Taking place before and directly alongside the events of its predecessor, Winter’s War follows Emily Blunt’s Ice Queen, Freya, as she struggles to come to terms with the death of her baby. She becomes so consumed by rage and guilt that she banishes herself to an ice castle, much like Elsa from Frozen, training an army of kidnapped children to pass her time.
Chris Hemsworth and Jessica Chastain star as two of these warriors, taken from their families at a young age and taught how to fight and how to block out any feelings of love – as per the Queen’s orders. Naturally, this becomes increasingly difficult and provides the film with its romantic subplot.
Unfortunately, the usually excellent Hemsworth and former Oscar-winner Chastain have next-to-no chemistry and their truly dreadful Celtic accents stop the film dead in its tracks. It’s a shame that Winter’s War relies so heavily on these two when Emily Blunt and a sorely underused Charlize Theron are much, much better.
So much better in fact that the screen comes alive whenever they are on screen, whether that is together or flying solo. Blunt suffers slightly due to the nature of her role, after all, she is known to be a bubbly and happy-go-lucky person, but her Ice Queen is mesmerising and heart-breaking to watch nonetheless.
Theron steals the show yet again, despite her lack of screen time and as she did in its predecessor, lifts Winter’s War well above its average plot and dialogue. Elsewhere, British favourite Sheridan Smith is a pleasant comedic break as a foul-mouthed dwarf.
The cinematography is on the whole very good, with pleasant landscapes, reminiscent of Harry Potter dotted alongside CGI castles, polar bears and goblins. The use of practical effects by first-time director Cedric Nicolas-Troyan is also a pleasure to see in this day and age.
Alas, the plot and dialogue of Winter’s War leaves much to be desired and the lack of screen time for Blunt and Theron hampers what could have been an interesting and unique backstory for this particular duo of films.
Overall, The Huntsman: Winter’s War is an average film hampered further by its two leading stars. Fortunately, the inclusion of Blunt and Theron manages to lift it slightly above the standard of its predecessor, but not by enough for it to warrant another follow up. However, the signposts throughout the 115 minute running time confess a sequel is more than likely.
https://moviemetropolis.net/2016/04/07/hemsworth-and-chastain-disappoint-the-huntsman-review/
Movie Metropolis (309 KP) rated Pixels (2015) in Movies
Jun 11, 2019
Where's the off switch
When was the last time you went to the cinema to see something original? It’s probably a question a lot of film fans ask themselves and in the last few years, perhaps proved rather difficult to answer.
However, with 2015 being the year of the reboot and the sequel, it’s nice to see a film like Pixels showcasing something completely different. But is it worth a go?
Directed by Chris Columbus of Mrs. Doubtfire and Harry Potter fame, Pixels stars Adam Sandler, Josh Gad, Peter Dinklage and a woefully miscast Kevin James in a film that doesn’t do enough with its fascinating premise, descending into painfully unfunny slapstick instead.
Sandler stars as Sam Brenner, a video game lover who, after a brief scene showing his history, is tasked with saving the world as aliens infiltrate Earth and begin to attack using some of our most-loved classic arcade games.
Alongside him for the ride are fellow video-game champs Josh Gad (Frozen), Peter Dinklage (X:Men – Days of Future Past) and Kevin James (Paul Blart: Mall Cop). The latter also happens to play the US President.
Unfortunately, none of the cast are particularly likeable with the usually on-point James playing one of the worst Presidential roles ever put to film. He is simply unbelievable as the leader of the United States and provides Pixels with some of its more cringe-worthy moments.
Once the film gets going, there are a few standout moments including a Pac-Man rampage through New York City but this has been so heavily marketed in the trailers that there is practically no suspense or joy in watching it unfold.
The finale is also very good, with a Donkey Kong showdown rendered in some stunning CGI and ridiculously clever set building and it’s great fun seeing so many classic arcade games being brought to life on the big screen.
Pac-Man, Q*Bert , Centipede and Donkey Kong are just a few to appear and look glorious with their 21st Century upgrades. Q*Bert in particular is a little cutie and is a major character throughout the last third of the film.
It’s unfortunate then that Chris Columbus’ usually reliable direction takes such a knock here. There’s none of the clever generation-bending humour of Mrs. Doubtfire or the laugh-out-loud slapstick of Home Alone, and the visual style he brought to Harry Potter is nowhere to be seen. In the end, Pixels just comes across as a brilliant concept that seems wasted.
Perhaps this can be blamed somewhat on poor casting choices. Adam Sandler hasn’t been hot property for a while after numerous box-office bombs and Peter Dinklage is still establishing himself as a major movie star. With Kevin James also proving a disappointment, it’s only Josh Gad who comes out on top – just.
Ultimately, Pixels is fun while it lasts and has some absolutely brilliant set pieces but once the credits roll, it’s apparent that it won’t be memorable like the wonderful arcade games it parodies.
https://moviemetropolis.net/2015/08/16/wheres-the-start-button-pixels-review/
However, with 2015 being the year of the reboot and the sequel, it’s nice to see a film like Pixels showcasing something completely different. But is it worth a go?
Directed by Chris Columbus of Mrs. Doubtfire and Harry Potter fame, Pixels stars Adam Sandler, Josh Gad, Peter Dinklage and a woefully miscast Kevin James in a film that doesn’t do enough with its fascinating premise, descending into painfully unfunny slapstick instead.
Sandler stars as Sam Brenner, a video game lover who, after a brief scene showing his history, is tasked with saving the world as aliens infiltrate Earth and begin to attack using some of our most-loved classic arcade games.
Alongside him for the ride are fellow video-game champs Josh Gad (Frozen), Peter Dinklage (X:Men – Days of Future Past) and Kevin James (Paul Blart: Mall Cop). The latter also happens to play the US President.
Unfortunately, none of the cast are particularly likeable with the usually on-point James playing one of the worst Presidential roles ever put to film. He is simply unbelievable as the leader of the United States and provides Pixels with some of its more cringe-worthy moments.
Once the film gets going, there are a few standout moments including a Pac-Man rampage through New York City but this has been so heavily marketed in the trailers that there is practically no suspense or joy in watching it unfold.
The finale is also very good, with a Donkey Kong showdown rendered in some stunning CGI and ridiculously clever set building and it’s great fun seeing so many classic arcade games being brought to life on the big screen.
Pac-Man, Q*Bert , Centipede and Donkey Kong are just a few to appear and look glorious with their 21st Century upgrades. Q*Bert in particular is a little cutie and is a major character throughout the last third of the film.
It’s unfortunate then that Chris Columbus’ usually reliable direction takes such a knock here. There’s none of the clever generation-bending humour of Mrs. Doubtfire or the laugh-out-loud slapstick of Home Alone, and the visual style he brought to Harry Potter is nowhere to be seen. In the end, Pixels just comes across as a brilliant concept that seems wasted.
Perhaps this can be blamed somewhat on poor casting choices. Adam Sandler hasn’t been hot property for a while after numerous box-office bombs and Peter Dinklage is still establishing himself as a major movie star. With Kevin James also proving a disappointment, it’s only Josh Gad who comes out on top – just.
Ultimately, Pixels is fun while it lasts and has some absolutely brilliant set pieces but once the credits roll, it’s apparent that it won’t be memorable like the wonderful arcade games it parodies.
https://moviemetropolis.net/2015/08/16/wheres-the-start-button-pixels-review/
Kristy H (1252 KP) rated Me Before You in Books
Feb 1, 2018
Louisa Clark leads a calm and simple (perhaps even boring) life in her village. She has a job in a cafe, she lives with her parents, and she has a boyfriend, Patrick, who is predictable, even if she might not actually love him. But one day, Louisa's life is turned upside down when she arrives at work and finds out the cafe is closing. Forced into the world of unemployment, Lou eventually ends up as a caregiver for the Traynor family -- specifically Will, a quadriplegic, a once active and passionate man whose life was changed irrevocably by an accident. Confined to a wheelchair, unable to move most of his limbs, and in great pain many days, Will's life is nothing like it was before. However, when Lou arrives in his world, she brings a bit of joy and fun to his otherwise bland days. However, neither of them realize how much they will change and affect each others' lives.
This was an interesting book, for sure. I'd avoided it for a while, hearing how sad it was, and frankly, I have enough of that in my life. But it eventually came up in my library queue, and I decided to give it a shot, basically because I'd read Moye's "One Plus One" and really loved it. I will try not to reveal much of the plot, for those who may not have read anything about it. However, I'll say the book touches on timely topics such as assisted suicide. Should Will be confined to his chair for the rest of life, living half a life, much of it in pain? What role should his family play in his life, and in his decisions? And how much responsibility does he owe his family and those who care for him? All deep questions, for sure.
The book is enjoyable purely on the strength of Lou's character. Just like "One Plus One," Moyes has an uncanny ability to create a main character whom you start to inhabit, love, and root for - quirks, frustrations, and flaws included. Lou is real and you can't help but like her. It's a fast read, as well - I tore through it in less than two days. There's a sequel out now, and I'm a little sad that I just put it on hold at the library, and I'll have to wait a while to find out what happens - but perhaps that's for the best.
Anyway, I was definitely drawn in by Lou's voice. A lot of her character and situation hit home, in a weird sort of way - her being trapped in her life by fear and an inability to get out beyond the confines of the life she'd created for herself. Her relationship with Will is a fascinating one, for sure. The ending of the book is tough, and without spoiling anything, leaves you feeling a bit deflated. I felt a lot of complicated emotions about it all, which I suppose is the sign of a good book, but kept me from pushing it up to a full 4-star review. Still, a mesmerizing read.
This was an interesting book, for sure. I'd avoided it for a while, hearing how sad it was, and frankly, I have enough of that in my life. But it eventually came up in my library queue, and I decided to give it a shot, basically because I'd read Moye's "One Plus One" and really loved it. I will try not to reveal much of the plot, for those who may not have read anything about it. However, I'll say the book touches on timely topics such as assisted suicide. Should Will be confined to his chair for the rest of life, living half a life, much of it in pain? What role should his family play in his life, and in his decisions? And how much responsibility does he owe his family and those who care for him? All deep questions, for sure.
The book is enjoyable purely on the strength of Lou's character. Just like "One Plus One," Moyes has an uncanny ability to create a main character whom you start to inhabit, love, and root for - quirks, frustrations, and flaws included. Lou is real and you can't help but like her. It's a fast read, as well - I tore through it in less than two days. There's a sequel out now, and I'm a little sad that I just put it on hold at the library, and I'll have to wait a while to find out what happens - but perhaps that's for the best.
Anyway, I was definitely drawn in by Lou's voice. A lot of her character and situation hit home, in a weird sort of way - her being trapped in her life by fear and an inability to get out beyond the confines of the life she'd created for herself. Her relationship with Will is a fascinating one, for sure. The ending of the book is tough, and without spoiling anything, leaves you feeling a bit deflated. I felt a lot of complicated emotions about it all, which I suppose is the sign of a good book, but kept me from pushing it up to a full 4-star review. Still, a mesmerizing read.