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Bob Mann (459 KP) rated All the Money in the World (2017) in Movies
Sep 29, 2021
You can’t take it with you.
The big talking point of this Ridley Scott film is not of course the film itself but the fact that the disgraced Kevin Spacey (“Baby Driver“) was ‘airbrushed’ out of the movie, replaced by the legend that is Christopher Plummer. With that background, and the fact that the re-shoot only took 9 days (NINE DAYS!!!!), I must admit to having been a tad scornful when Plummer was nominated for a Best Supporting Actor Oscar. “Oh” I thought “…it’s Judi Dench’s minimalistic performance in ‘Shakespeare In Love’ all over again”.
But actually on watching the film I take it all back. Plummer’s role is not, like Dench’s, a mere eight minutes of screen time, but extensive and pivotal. Not only was his nomination richly deserved (his performance is cold, eerie and magnificent!) but Ridley Scott deserved an award for getting so much great footage in the can in such a short space of time.
The film tells the true story of the feckless John Paul Getty III (Charlie Plummer, no relation), grandson to the richest man in the world John Paul Getty I. While in the Piazza Farnese in Rome, JPGIII is kidnapped and a $17 million reward is sought for his release. Whilst claiming to love his offspring, the tycoon is basically a ‘tight git’ and the film concerns the battle of the young heir’s mother Gail (Michelle Williams, “Manchester By The Sea”; “The Greatest Showman”) to persuade JPG1 and his right-hand negotiator Fletcher Chase (Mark Wahlberg, “Patriot’s Day”, “Deep Water Horizon“) to shake the money tree* and get JPGIII released.
*To be fair, JPGIII hasn’t exactly helped his case as it emerges he had previously joked about getting himself kidnapped to get his grandfather’s ransom money!
As I didn’t remember the historical outcome of this, I was in a suitable amount of suspense as to where it would go. It is clear though, from the wiki version of the story, that the ending was significantly ‘sexed-up’ for the movie.
Ridley Scott sensibly balances the views of the Getty’s with the views of the kidnappers, with a semi-sympathetic Italian (Romain Duris) being the focus of those scenes in rural Calabria.
But it’s the scenes with Plummer that really engage. The man as portrayed is an enigma, eccentrically washing his own clothes to save a few pennies and always (ALWAYS) trying to get 20% more on even the most personal of decisions. It makes me really intrigued to see Spacey’s portrayal now… I wonder if the alternate cut might make it onto the Blu-ray? I actually think though that Plummer was the better choice for this: I could see Spacey bringing far too much of Frank Underwood to the role.
Elsewhere in the cast, I think Michelle Williams and Mark Wahlberg are both solid without ever being spectacular and it’s nice to see the talented Andrew Buchan (“The Mercy“; “Broadchurch”) in a more memorable big screen outing as JPG2: his drug-addled son (and JPG3’s father).
Overall, it’s an interesting watch and had me sufficiently engaged to want to watch it again. But without Plummer’s role it wouldn’t really amount to nearly as much.
But actually on watching the film I take it all back. Plummer’s role is not, like Dench’s, a mere eight minutes of screen time, but extensive and pivotal. Not only was his nomination richly deserved (his performance is cold, eerie and magnificent!) but Ridley Scott deserved an award for getting so much great footage in the can in such a short space of time.
The film tells the true story of the feckless John Paul Getty III (Charlie Plummer, no relation), grandson to the richest man in the world John Paul Getty I. While in the Piazza Farnese in Rome, JPGIII is kidnapped and a $17 million reward is sought for his release. Whilst claiming to love his offspring, the tycoon is basically a ‘tight git’ and the film concerns the battle of the young heir’s mother Gail (Michelle Williams, “Manchester By The Sea”; “The Greatest Showman”) to persuade JPG1 and his right-hand negotiator Fletcher Chase (Mark Wahlberg, “Patriot’s Day”, “Deep Water Horizon“) to shake the money tree* and get JPGIII released.
*To be fair, JPGIII hasn’t exactly helped his case as it emerges he had previously joked about getting himself kidnapped to get his grandfather’s ransom money!
As I didn’t remember the historical outcome of this, I was in a suitable amount of suspense as to where it would go. It is clear though, from the wiki version of the story, that the ending was significantly ‘sexed-up’ for the movie.
Ridley Scott sensibly balances the views of the Getty’s with the views of the kidnappers, with a semi-sympathetic Italian (Romain Duris) being the focus of those scenes in rural Calabria.
But it’s the scenes with Plummer that really engage. The man as portrayed is an enigma, eccentrically washing his own clothes to save a few pennies and always (ALWAYS) trying to get 20% more on even the most personal of decisions. It makes me really intrigued to see Spacey’s portrayal now… I wonder if the alternate cut might make it onto the Blu-ray? I actually think though that Plummer was the better choice for this: I could see Spacey bringing far too much of Frank Underwood to the role.
Elsewhere in the cast, I think Michelle Williams and Mark Wahlberg are both solid without ever being spectacular and it’s nice to see the talented Andrew Buchan (“The Mercy“; “Broadchurch”) in a more memorable big screen outing as JPG2: his drug-addled son (and JPG3’s father).
Overall, it’s an interesting watch and had me sufficiently engaged to want to watch it again. But without Plummer’s role it wouldn’t really amount to nearly as much.
Gareth von Kallenbach (980 KP) rated Mr. & Mrs. Smith (2005) in Movies
Aug 14, 2019
Not since the film The War of the Roses has the silver screen portrayed marital discord in such as humorous and violent fashion as it does in Mr. and Mrs. Smith.
The film stars Brad Pitt and Angelina Jolie as the title characters who are approaching their sixth year of marriage, though Mr. Smith seems to be convinced it has only been five.
Tedium has set into their suburban lives, and the couple has entered counseling in an effort to help their lack of communication. The story of how they met and various aspects of their lives with one another paints the picture of how much the flame has dulled after such an explosive start for the couple.
As routine has their home lives have become, one thing that has not changed is their work. Unknown to each other, the Smiths are actually assassins for competing firms. Both Smiths are convinced that their spouse works in other fields and manage to complete most of their missions during the day or night under the guise of work for the cover careers.
Things change when both agents are assigned by their firms to a mission where they end up encountering each other from a distance. Unsure of whom the person they spotted is, they are ordered to eliminate the person in order to protect their cover.
This begins a rapid series of events that, as anyone who has seen the trailer will realize, the Smiths will figure out that the person they have been seeking is their very own spouse. While this destination is inevitable to the plot is not a surprise, the trip leading up to it, and the whirlwind of events that follows this discovery, is what really makes this film such an enjoyable ride.
Naturally when the two uncover their spouse’s true identity, the instincts of their professions as well as their pent up frustrations come out in an orgy of passion and violence that leaves a trail of devastation. The various encounters between the Smiths not only escalate on the violence scale, but due to issue such as pride, reputations, and betrayal, the objectivity and impersonal nature of their work are abandoned.
I think Shakespeare put it best when he said that “Hell hath no fury like a woman scorned”, as the scenes of Jane Smith unloading her pent up fury are almost as hysterical as the segments where John Smith takes his turn at the plate.
A prime example of the films ability to mix action and comedy to perfection is the classic dance scene where the two attempt to disarm one another in an effort to get the upper hand. Pitt and Jolie dance and exchanges barbs, as they keep the beat and discard the weapons they find, as they plot to gain the upper hand.
The film did lose a bit of its amazing momentum about a third of the way in, before regrouping and bringing the film to an action packed and very satisfying conclusion. The supporting work of Vince Vaughn is very funny, but sadly his presence is limited. The films works very well because the chemistry between the two leads is very strong, as are the action and humor sequences. Without a doubt one of the best movies of the summer and one not to be missed
The film stars Brad Pitt and Angelina Jolie as the title characters who are approaching their sixth year of marriage, though Mr. Smith seems to be convinced it has only been five.
Tedium has set into their suburban lives, and the couple has entered counseling in an effort to help their lack of communication. The story of how they met and various aspects of their lives with one another paints the picture of how much the flame has dulled after such an explosive start for the couple.
As routine has their home lives have become, one thing that has not changed is their work. Unknown to each other, the Smiths are actually assassins for competing firms. Both Smiths are convinced that their spouse works in other fields and manage to complete most of their missions during the day or night under the guise of work for the cover careers.
Things change when both agents are assigned by their firms to a mission where they end up encountering each other from a distance. Unsure of whom the person they spotted is, they are ordered to eliminate the person in order to protect their cover.
This begins a rapid series of events that, as anyone who has seen the trailer will realize, the Smiths will figure out that the person they have been seeking is their very own spouse. While this destination is inevitable to the plot is not a surprise, the trip leading up to it, and the whirlwind of events that follows this discovery, is what really makes this film such an enjoyable ride.
Naturally when the two uncover their spouse’s true identity, the instincts of their professions as well as their pent up frustrations come out in an orgy of passion and violence that leaves a trail of devastation. The various encounters between the Smiths not only escalate on the violence scale, but due to issue such as pride, reputations, and betrayal, the objectivity and impersonal nature of their work are abandoned.
I think Shakespeare put it best when he said that “Hell hath no fury like a woman scorned”, as the scenes of Jane Smith unloading her pent up fury are almost as hysterical as the segments where John Smith takes his turn at the plate.
A prime example of the films ability to mix action and comedy to perfection is the classic dance scene where the two attempt to disarm one another in an effort to get the upper hand. Pitt and Jolie dance and exchanges barbs, as they keep the beat and discard the weapons they find, as they plot to gain the upper hand.
The film did lose a bit of its amazing momentum about a third of the way in, before regrouping and bringing the film to an action packed and very satisfying conclusion. The supporting work of Vince Vaughn is very funny, but sadly his presence is limited. The films works very well because the chemistry between the two leads is very strong, as are the action and humor sequences. Without a doubt one of the best movies of the summer and one not to be missed
Gareth von Kallenbach (980 KP) rated Knight of Cups (2016) in Movies
Aug 6, 2019
I’ll just come out and say it … This movie for all it’s grandeur with its ensemble cast and it’s amazing photographic work and direction is something that should be shown at film festivals and in art house movie theaters and NOT your mainstream chain theaters. Someplace where you can order a meal and perhaps a glass of wine or a local ale. Why? If the movie has Christian Bale in its cast you know there’s going to be drama involved regardless of whether or not the movie itself is dramatic. THIS particular film is a drama that could be compared to something written by Shakespeare.
‘Knight Of Cups’ is a romantic drama written and directed by Terrence Malick and stars an ensemble cast including Christian Bale, Cate Blanchett, Antonio Banderas, Natalie Portman, Brian Dennehy, Armin Muller-Stahl, Isabel Lucas, Freida Pinto, Wes Bentley, Imogen Poots, Teresa Palmer, and Peter Matthiessen.
“Once there was a young prince whose father, the king of the East, sent him down into Egypt to find a pearl. But when the prince arrived, the people poured him a cup. Drinking it, he forgot he was the son of a king, forgot about the pearl and fell into a deep sleep.”
Rick (Bale) is a successful writer born into a powerful family in L.A. The son of Joseph (Dennehy) and brother to Barry (Bently). After the lose of a second brother as well as his mother, Rick becomes disillusioned and loses himself in the excesses found in the ‘City Of Angles’ and nearby Las Vegas. Along this aimless journey he encounters 6 different women Nancy (Blanchett) a doctor, Elizabeth (Portman) a married woman, Helen (Pinto), Isabel (Lucas), Karen (Palmer), and Della (Poots) looking to form some sort of bond or connection. Perhaps even to discover love only to encounter more lose. He wanders from cities, to beaches, then from mountains to deserts. Searching for something meaningful, some purpose all the while trying to hold what remains of his family and his own sanity together and along the way encounters a cast of colorful characters who have their own ideas about life and their own views on how he should live his.
This film was pretty much Malick’s attempt at making an art film with a large budget and a star studded cast. That’s just the thing. He succeeded and it was just too much. From a technical standpoint, it was wonderfully directed with its landscapes and ‘not-the-norm’ angles and close-ups but it simultaneously took away from the people and the story. It was almost as though they were trying to combine a film on the Discovery Channel with a drama. The film was two minutes shy of 2 hours long. Had the director been able to shave 20 minutes from it, then I could see it given a limited run in major theaters. I have to give kudos to the actors and actresses who were on top of their game which made the film worth sitting through once. The film is rated R for scenes of violence, nudity, and language. If you’re enduring one of those days where you just need to disappear and NOT communicate with anyone for a while, go see this movie. It’s runtime and complexity will help take your mind off your troubles. I’d highly recommend though that you save the film for viewing at home. I’ll give this film 3 out of 5 stars.
‘Knight Of Cups’ is a romantic drama written and directed by Terrence Malick and stars an ensemble cast including Christian Bale, Cate Blanchett, Antonio Banderas, Natalie Portman, Brian Dennehy, Armin Muller-Stahl, Isabel Lucas, Freida Pinto, Wes Bentley, Imogen Poots, Teresa Palmer, and Peter Matthiessen.
“Once there was a young prince whose father, the king of the East, sent him down into Egypt to find a pearl. But when the prince arrived, the people poured him a cup. Drinking it, he forgot he was the son of a king, forgot about the pearl and fell into a deep sleep.”
Rick (Bale) is a successful writer born into a powerful family in L.A. The son of Joseph (Dennehy) and brother to Barry (Bently). After the lose of a second brother as well as his mother, Rick becomes disillusioned and loses himself in the excesses found in the ‘City Of Angles’ and nearby Las Vegas. Along this aimless journey he encounters 6 different women Nancy (Blanchett) a doctor, Elizabeth (Portman) a married woman, Helen (Pinto), Isabel (Lucas), Karen (Palmer), and Della (Poots) looking to form some sort of bond or connection. Perhaps even to discover love only to encounter more lose. He wanders from cities, to beaches, then from mountains to deserts. Searching for something meaningful, some purpose all the while trying to hold what remains of his family and his own sanity together and along the way encounters a cast of colorful characters who have their own ideas about life and their own views on how he should live his.
This film was pretty much Malick’s attempt at making an art film with a large budget and a star studded cast. That’s just the thing. He succeeded and it was just too much. From a technical standpoint, it was wonderfully directed with its landscapes and ‘not-the-norm’ angles and close-ups but it simultaneously took away from the people and the story. It was almost as though they were trying to combine a film on the Discovery Channel with a drama. The film was two minutes shy of 2 hours long. Had the director been able to shave 20 minutes from it, then I could see it given a limited run in major theaters. I have to give kudos to the actors and actresses who were on top of their game which made the film worth sitting through once. The film is rated R for scenes of violence, nudity, and language. If you’re enduring one of those days where you just need to disappear and NOT communicate with anyone for a while, go see this movie. It’s runtime and complexity will help take your mind off your troubles. I’d highly recommend though that you save the film for viewing at home. I’ll give this film 3 out of 5 stars.
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Sean Freese (4 KP) rated The Witch (2015) in Movies
Jun 25, 2020
THE VVITCH
The full title is, The Witch: A New England Folktale. Like Grimm’s fairytales, American folklore has taken revisions over the centuries to become a palatable collection of juvenile life lessons. Anyone who has read the original versions of these stories knows how brutal, horrifying, and far removed they are from our current values. As much as I would not condone reading original classic witch tales to a small child, they do contain much deeper implications and ideas than the simple “Don’t tell lies” that are gleaned from modern revisions. What’s fascinating about The Witch is how familiar the setting and story is, without a single cliché or moment of prediction to speak of. The evil that was feared in 17th Century Puritan America has been so eclipsed by the human horrors of The Salem Witch Trials, that we have forgotten what it was to fear a witch.
We know these characters only by their Christian names. William removes his family from their Colonial settlement due to an incompatibility of faith. The colony of Puritans isn’t Christian enough. With his wife, Katherine, William takes his 4 children into the wilds of the Northeast. Airs of The Crucible envelope the setting. Common pronouns are replaced with “thines” and “thous”. Dialogue is delivered as if quoted from Shakespeare or the Bible itself. In the past, this oral dynamic has always sounded ardently rehearsed. Somehow, it’s natural here. Considering William’s rigorous faith, you might expect him to be an overbearingly shrewd father. He is in fact a loving and good man of his time; often a pushover. Katherine is the more fearsome parent, with a shrill voice and gaunt pointed face. While they do live in hardship, this is a good family. Once Fall deadens the colors and greys the skies, things begin to take a disturbing turn.
Ralph Ineson and Kate Dickie play the parents without an exaggeration of the material. Remarkable still are the actors portraying their children. Harvey Scrimshaw plays William’s 10-year-old son, Caleb, as natural as can be imagined. The dramatic beats of a horror movie come with taxing climactic moments and Scrimshaw acts beyond his years. Anya Taylor-Joy plays the eldest daughter Thomasin; a doe-eyed blonde beauty who plays the most relatable character of the flock. The dynamic between Caleb and Thompsin has notes of innocent sexual tension. Their secluded life leaves a great deal of new feelings that can’t be addressed due to their customs. These feelings lead to foreign temptations that are preyed upon by the timeless evil beyond the trees.
The greatest achievement of this film is how faithful it is to its setting and story, while keeping enough behind the veil to become engrossing. The tale feels as old as any, drawing from universal fears and motivations. How it draws you in, keeping you tied to the victims and their perspective while keeping the evil at arm’s length, shows a discipline of craft that greatly compliments the material. Much like vampires, witches have been trivialized and diluted by film into something superficially attractive and entertainingly evil. As with Noseferatu, seeing a witch living a damnable existence of ugliness is much more appropriate. If they’re ever beautiful, they won’t be for long.
The full title is, The Witch: A New England Folktale. Like Grimm’s fairytales, American folklore has taken revisions over the centuries to become a palatable collection of juvenile life lessons. Anyone who has read the original versions of these stories knows how brutal, horrifying, and far removed they are from our current values. As much as I would not condone reading original classic witch tales to a small child, they do contain much deeper implications and ideas than the simple “Don’t tell lies” that are gleaned from modern revisions. What’s fascinating about The Witch is how familiar the setting and story is, without a single cliché or moment of prediction to speak of. The evil that was feared in 17th Century Puritan America has been so eclipsed by the human horrors of The Salem Witch Trials, that we have forgotten what it was to fear a witch.
We know these characters only by their Christian names. William removes his family from their Colonial settlement due to an incompatibility of faith. The colony of Puritans isn’t Christian enough. With his wife, Katherine, William takes his 4 children into the wilds of the Northeast. Airs of The Crucible envelope the setting. Common pronouns are replaced with “thines” and “thous”. Dialogue is delivered as if quoted from Shakespeare or the Bible itself. In the past, this oral dynamic has always sounded ardently rehearsed. Somehow, it’s natural here. Considering William’s rigorous faith, you might expect him to be an overbearingly shrewd father. He is in fact a loving and good man of his time; often a pushover. Katherine is the more fearsome parent, with a shrill voice and gaunt pointed face. While they do live in hardship, this is a good family. Once Fall deadens the colors and greys the skies, things begin to take a disturbing turn.
Ralph Ineson and Kate Dickie play the parents without an exaggeration of the material. Remarkable still are the actors portraying their children. Harvey Scrimshaw plays William’s 10-year-old son, Caleb, as natural as can be imagined. The dramatic beats of a horror movie come with taxing climactic moments and Scrimshaw acts beyond his years. Anya Taylor-Joy plays the eldest daughter Thomasin; a doe-eyed blonde beauty who plays the most relatable character of the flock. The dynamic between Caleb and Thompsin has notes of innocent sexual tension. Their secluded life leaves a great deal of new feelings that can’t be addressed due to their customs. These feelings lead to foreign temptations that are preyed upon by the timeless evil beyond the trees.
The greatest achievement of this film is how faithful it is to its setting and story, while keeping enough behind the veil to become engrossing. The tale feels as old as any, drawing from universal fears and motivations. How it draws you in, keeping you tied to the victims and their perspective while keeping the evil at arm’s length, shows a discipline of craft that greatly compliments the material. Much like vampires, witches have been trivialized and diluted by film into something superficially attractive and entertainingly evil. As with Noseferatu, seeing a witch living a damnable existence of ugliness is much more appropriate. If they’re ever beautiful, they won’t be for long.
Bob Mann (459 KP) rated King Arthur: Legend Of The Sword (2017) in Movies
Sep 29, 2021
The Arthurian legend: but with Cockneys.
So, bit difficult to describe this one… so I asked my bloke Alfie from Londinium to explain what’s it all about…
“‘Ere, OK bruv. So this is dun by that geezer Guy Ritchie – yer know, the one that dun that Sherlock Holmes with the Iron Man geezer Robert Junior Downey, that one. His new film is a rip-roarin’ acshun movie what retells da Arfurian legend in a novel new way.
That Hulk bloke Eric Bana is Arfur’s farfer an’ ‘e’s ‘avin’ a few problems wiv ‘is bruvver Vortigern (Jude Law, who’s a bi’ ov a cockney ‘imself, but ‘ere speaks like a posh bloke. Know what I mean?) So ‘e (Vortigern dat is) gets some magical ‘elp from some slippery watery bints in a puddle and so ‘is dad puts ‘is God Forbid in a boat an’ sends ‘im down da river ter The Smoke ter live wiv some prozzies.
But ‘e grows up big an’ strong an’ ‘andy wiv a sword. His friends tell ‘im ter get aaaht ov town as da King’s blokes are lookin’ fer da young geezer who would be king. An’ e says like “Scapa Flow sowf ov da river at dis time ov night. Are yew mad?”. So e gets caught like an’ gets tested by some famous football bloke ter pull a big sword aaaht ov just a random bi’ ov stone (nod, nod, wink wink, nice twist – ssshhh!).
The Vortigern bloke is very cross an’ tries to kill ‘im but ‘e gets rescued by some bird who can make birds, lol, an’ other fings do what she wants. So can Arfur beat ‘is uncle? Gawdon Bennet, I’m not gon’a tell yew da whole darn fing! Yer’ll ‘ave ter go an’ watch i’ ter find out.”
Thanks Alfie. Couldn’t have said it better myself!
The quirky style of Guy Ritchie isn’t one that you would think would translate well to the Arthurian setting, and as the film starts you tend to think you were right! But if you give it a chance it wears you down into acceptance and then – ultimately – a lot of enjoyment.
Jude Law is deliciously evil mixed with a heavy dose of mad, and delivers the goods.
Charlie Hunnam who plays Arthur (no, I hadn’t heard of him either but he was in the “Lost City of Z”) does a decent job as the medieval hunk, although he seems at time to have taken voice coaching in ‘Olde-English’ from Russell Crowe, since the lad’s Geordie accent seems to wander from Cockney through central southern England to Liverpudlian at one point (definitely channelling a young John Lennon)! Relative newcomer, the Spanish actress Astrid Bergès-Frisbey is effectively weird as the mage.
Particularly noteworthy (no pun intended) is the superb action soundtrack by Daniel Pemberton (“Steve Jobs“, “The Man from U.N.C.L.E.“) which propels the action really well and contains some standout moments.
Also a standout in the technical categories is the editing by James Herbert, who did both of Downey Junior’s “Sherlock Holmes” films (in a similar style) and also “Edge of Tomorrow“. The style is typified with Arthur’s growth to manhood in the streets of London which is stylishly done.
I saw the film in 3D – not a particularly favourite format – but quite well done, although falls into the “trying too hard” category at times with lots of drifting embers… you know the sort.
It’s not bloody Shakespeare. It’s not even the bloody Arthurian legend as you know it. But it is bloody good fun if you let it in.
“‘Ere, OK bruv. So this is dun by that geezer Guy Ritchie – yer know, the one that dun that Sherlock Holmes with the Iron Man geezer Robert Junior Downey, that one. His new film is a rip-roarin’ acshun movie what retells da Arfurian legend in a novel new way.
That Hulk bloke Eric Bana is Arfur’s farfer an’ ‘e’s ‘avin’ a few problems wiv ‘is bruvver Vortigern (Jude Law, who’s a bi’ ov a cockney ‘imself, but ‘ere speaks like a posh bloke. Know what I mean?) So ‘e (Vortigern dat is) gets some magical ‘elp from some slippery watery bints in a puddle and so ‘is dad puts ‘is God Forbid in a boat an’ sends ‘im down da river ter The Smoke ter live wiv some prozzies.
But ‘e grows up big an’ strong an’ ‘andy wiv a sword. His friends tell ‘im ter get aaaht ov town as da King’s blokes are lookin’ fer da young geezer who would be king. An’ e says like “Scapa Flow sowf ov da river at dis time ov night. Are yew mad?”. So e gets caught like an’ gets tested by some famous football bloke ter pull a big sword aaaht ov just a random bi’ ov stone (nod, nod, wink wink, nice twist – ssshhh!).
The Vortigern bloke is very cross an’ tries to kill ‘im but ‘e gets rescued by some bird who can make birds, lol, an’ other fings do what she wants. So can Arfur beat ‘is uncle? Gawdon Bennet, I’m not gon’a tell yew da whole darn fing! Yer’ll ‘ave ter go an’ watch i’ ter find out.”
Thanks Alfie. Couldn’t have said it better myself!
The quirky style of Guy Ritchie isn’t one that you would think would translate well to the Arthurian setting, and as the film starts you tend to think you were right! But if you give it a chance it wears you down into acceptance and then – ultimately – a lot of enjoyment.
Jude Law is deliciously evil mixed with a heavy dose of mad, and delivers the goods.
Charlie Hunnam who plays Arthur (no, I hadn’t heard of him either but he was in the “Lost City of Z”) does a decent job as the medieval hunk, although he seems at time to have taken voice coaching in ‘Olde-English’ from Russell Crowe, since the lad’s Geordie accent seems to wander from Cockney through central southern England to Liverpudlian at one point (definitely channelling a young John Lennon)! Relative newcomer, the Spanish actress Astrid Bergès-Frisbey is effectively weird as the mage.
Particularly noteworthy (no pun intended) is the superb action soundtrack by Daniel Pemberton (“Steve Jobs“, “The Man from U.N.C.L.E.“) which propels the action really well and contains some standout moments.
Also a standout in the technical categories is the editing by James Herbert, who did both of Downey Junior’s “Sherlock Holmes” films (in a similar style) and also “Edge of Tomorrow“. The style is typified with Arthur’s growth to manhood in the streets of London which is stylishly done.
I saw the film in 3D – not a particularly favourite format – but quite well done, although falls into the “trying too hard” category at times with lots of drifting embers… you know the sort.
It’s not bloody Shakespeare. It’s not even the bloody Arthurian legend as you know it. But it is bloody good fun if you let it in.
BankofMarquis (1832 KP) rated The little mermaid (2023) in Movies
Sep 20, 2023
You Will Want To Go Under The Sea
Back in 2013, the Baltimore Ravens won the Super Bowl with a QB, Joe Flacco, who was a “game manager”. His reputation was that he was NOT spectacular and wouldn’t win a game for you, but he also wouldn’t take chances and LOSE a game for you.
Such the same can be said of newcomer Halle Bailey as Ariel in Disney’s Live Action remake of THE LITTLE MERMAID. She produces a competent, steady (but unspectacular) performance that doesn’t really add all that much to the film, but (more importantly) it doesn’t detract either.
And that is a GOOD (enough) thing as Director Rob Marshall (Chicago) populates this remake with some wonderful performers/performances to go along with better-than-average CGI and some new songs that actually work well (and don’t just seem like “add-ons”). All of this adds up to a very enjoyable family time at the movies.
Following the plot of the Disney Animated film from 1989, this Little Mermaid does not sway too far from the basic plot, though it does cut down (a bit) on the musical numbers. But when it swings big, it swings BIG and these swings connect.
Daveed Diggs (Broadway’s Hamilton) almost steals the film as the voice of Sebastian the Crab and his UNDER THE SEA number is a visual and audible delight while Awkwafina (CRAZY, RICH ASIANS) fills in very well in the Buddy Hackett role as the bird Scuttle. Surprisingly, young Jacob Trembley (ROOM) more than holds his own in this crazy trio of sidekicks as the young fish Flounder. These three work together quite a bit more in this film than in the previous, animated one and they work well together.
But, make no mistake, this film is Melissa McCarthy’s and as the evil Sea Witch Ursula, she demands you pay attention - and keep paying attention - to her. Her big number, POOR UNFORTUNATE SOULS is deep, rich and powerful while her performance throughout the film is just enough over-the-top to work. Credit needs to go to both McCarthy and Marshall to understand when enough was enough or when they went too far and reigned it in.
Javier Bardem (NO COUNTRY FOR OLD MEN) also populates this film as Ariel’s father, King Triton, and while it looks like Bardem is trying very, very hard to audition for a serious Shakespeare role, it works well here.
Finally, the biggest surprise to me in this film is Jonah Hauer-King (he played Laurie in the Saoirse Ronan/Emma Watson/Florence Pugh LITTLE WOMEN) as Prince Eric. In the animated version of this film, poor Prince Eric has very little to do, except to be Ariel’s “Prince Charming”. In this version, writer David Magee (LIFE OF PI) turns Eric into a real character with some depth - and a song! The 2nd half of this film was as much about Prince Eric as it was about Ariel.
And, that is okay, for the ending of this film needed some energy in addition to Bailey’s to make it rise above the rest of film and with the help of all those other wonderful performers, it rises well above (and not under) the sea.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Such the same can be said of newcomer Halle Bailey as Ariel in Disney’s Live Action remake of THE LITTLE MERMAID. She produces a competent, steady (but unspectacular) performance that doesn’t really add all that much to the film, but (more importantly) it doesn’t detract either.
And that is a GOOD (enough) thing as Director Rob Marshall (Chicago) populates this remake with some wonderful performers/performances to go along with better-than-average CGI and some new songs that actually work well (and don’t just seem like “add-ons”). All of this adds up to a very enjoyable family time at the movies.
Following the plot of the Disney Animated film from 1989, this Little Mermaid does not sway too far from the basic plot, though it does cut down (a bit) on the musical numbers. But when it swings big, it swings BIG and these swings connect.
Daveed Diggs (Broadway’s Hamilton) almost steals the film as the voice of Sebastian the Crab and his UNDER THE SEA number is a visual and audible delight while Awkwafina (CRAZY, RICH ASIANS) fills in very well in the Buddy Hackett role as the bird Scuttle. Surprisingly, young Jacob Trembley (ROOM) more than holds his own in this crazy trio of sidekicks as the young fish Flounder. These three work together quite a bit more in this film than in the previous, animated one and they work well together.
But, make no mistake, this film is Melissa McCarthy’s and as the evil Sea Witch Ursula, she demands you pay attention - and keep paying attention - to her. Her big number, POOR UNFORTUNATE SOULS is deep, rich and powerful while her performance throughout the film is just enough over-the-top to work. Credit needs to go to both McCarthy and Marshall to understand when enough was enough or when they went too far and reigned it in.
Javier Bardem (NO COUNTRY FOR OLD MEN) also populates this film as Ariel’s father, King Triton, and while it looks like Bardem is trying very, very hard to audition for a serious Shakespeare role, it works well here.
Finally, the biggest surprise to me in this film is Jonah Hauer-King (he played Laurie in the Saoirse Ronan/Emma Watson/Florence Pugh LITTLE WOMEN) as Prince Eric. In the animated version of this film, poor Prince Eric has very little to do, except to be Ariel’s “Prince Charming”. In this version, writer David Magee (LIFE OF PI) turns Eric into a real character with some depth - and a song! The 2nd half of this film was as much about Prince Eric as it was about Ariel.
And, that is okay, for the ending of this film needed some energy in addition to Bailey’s to make it rise above the rest of film and with the help of all those other wonderful performers, it rises well above (and not under) the sea.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Hazel (1853 KP) rated How to Stop Time in Books
Jun 30, 2017
Favourite book of 2017 so far
This eBook was provided by the publisher via NetGalley in exchange for an honest review
All the world’s a stage/And all the men and women merely players/They have their exits and their entrances/And one man in his time plays many parts …
How to Stop Time is British author Matt Haig’s latest novel, and a very interesting one it is, too. In the present day, Tom Hazard is a 40-something-looking man who has landed himself with the position of history teacher at a comprehensive school in Tower Hamlets. Despite not having any formal training, Tom is the perfect candidate for the position because, despite his looks, he is 439 years old. But, that is a secret that no one must ever discover.
The book jumps back and forth between the current time period and flashbacks to various events during Tom’s extensive past. Born in 1581, Tom has experienced a great part of British history and major events around the world. Constantly changing his name and identification, he moved around the world, switching locations whenever people began to get suspicious of his never-aging body.
After a couple of centuries, Tom met a man with the same condition as himself, who revealed that there were many people in the same predicament. Promising to be able to help keep him safe, the stranger coerces Tom into a union called the Albatross Society. There are many rules and conditions to follow, however, the most important advice is to never fall in love. Unfortunately, Tom has already done this.
In London 1623, Tom met the love of his life, Rose, who he eventually married and with whom he had a daughter. Although Tom does age, it is at the rate of one year every 15; therefore he eventually had to leave his family in order to keep them safe. However, his daughter Marion has inherited his condition and Tom spends his subsequent years trying to find her. With promises to help him on his quest, Tom reluctantly joins the Albatross Society, despite their questionable ways.
All Tom wants is to be able to lead a normal life, yet the narrative reveals how impossible this has been, both in the past and now in the present. From Elizabethan England to Elizabeth II’s reign, Tom lives through several monarchs, wars, colloquial changes, industrialisation, sanitisation of comestibles, and the introduction of digital technology. Without the added pressure of keeping his true identity disguised, it is very interesting to experience historical events through the eyes of the protagonist.
The ending, unfortunately, does not quite satisfy the growing excitement and interest of the rest of the novel. Important things happen too quickly, making it confusing to understand the main storyline. The majority of the story appears to only be setting the scene for the final couple of chapters, but as this is so fascinating, there cannot be too much complaint.
Presuming that Haig has done his research and that the historical periods are factually correct, How to Stop Time is as educational as it is entertaining. History lovers will enjoy reading about famous people such as Shakespeare and Charlie Chaplin, as well as getting an insight into the daily lives of past societies. Most importantly, Tom is a captivating character, who, despite having lived for four centuries, is still as socially awkward as the best of us.
How to Stop Time contains a fantastic concept about the progression of time and aging, but its most poignant point is the emphasis on finding and being you. Change is an inevitable certainty, as witnessed by Tom whose current world looks nothing like his memories. Although people must adapt to the on-going changes, living how you want is more important than adjusting to fit in with everyone else. In essence, do not be afraid to let the world see your true self.
All the world’s a stage/And all the men and women merely players/They have their exits and their entrances/And one man in his time plays many parts …
How to Stop Time is British author Matt Haig’s latest novel, and a very interesting one it is, too. In the present day, Tom Hazard is a 40-something-looking man who has landed himself with the position of history teacher at a comprehensive school in Tower Hamlets. Despite not having any formal training, Tom is the perfect candidate for the position because, despite his looks, he is 439 years old. But, that is a secret that no one must ever discover.
The book jumps back and forth between the current time period and flashbacks to various events during Tom’s extensive past. Born in 1581, Tom has experienced a great part of British history and major events around the world. Constantly changing his name and identification, he moved around the world, switching locations whenever people began to get suspicious of his never-aging body.
After a couple of centuries, Tom met a man with the same condition as himself, who revealed that there were many people in the same predicament. Promising to be able to help keep him safe, the stranger coerces Tom into a union called the Albatross Society. There are many rules and conditions to follow, however, the most important advice is to never fall in love. Unfortunately, Tom has already done this.
In London 1623, Tom met the love of his life, Rose, who he eventually married and with whom he had a daughter. Although Tom does age, it is at the rate of one year every 15; therefore he eventually had to leave his family in order to keep them safe. However, his daughter Marion has inherited his condition and Tom spends his subsequent years trying to find her. With promises to help him on his quest, Tom reluctantly joins the Albatross Society, despite their questionable ways.
All Tom wants is to be able to lead a normal life, yet the narrative reveals how impossible this has been, both in the past and now in the present. From Elizabethan England to Elizabeth II’s reign, Tom lives through several monarchs, wars, colloquial changes, industrialisation, sanitisation of comestibles, and the introduction of digital technology. Without the added pressure of keeping his true identity disguised, it is very interesting to experience historical events through the eyes of the protagonist.
The ending, unfortunately, does not quite satisfy the growing excitement and interest of the rest of the novel. Important things happen too quickly, making it confusing to understand the main storyline. The majority of the story appears to only be setting the scene for the final couple of chapters, but as this is so fascinating, there cannot be too much complaint.
Presuming that Haig has done his research and that the historical periods are factually correct, How to Stop Time is as educational as it is entertaining. History lovers will enjoy reading about famous people such as Shakespeare and Charlie Chaplin, as well as getting an insight into the daily lives of past societies. Most importantly, Tom is a captivating character, who, despite having lived for four centuries, is still as socially awkward as the best of us.
How to Stop Time contains a fantastic concept about the progression of time and aging, but its most poignant point is the emphasis on finding and being you. Change is an inevitable certainty, as witnessed by Tom whose current world looks nothing like his memories. Although people must adapt to the on-going changes, living how you want is more important than adjusting to fit in with everyone else. In essence, do not be afraid to let the world see your true self.
Movie Metropolis (309 KP) rated Transformers: The Last Knight (2017) in Movies
Jun 10, 2019
Has anyone got an aspirin?
Shhh! Don’t tell anyone I told you this but I’m a little bit of a Transformers fanboy. As a child I had many of the series’ toys and adored the animated series. Heck, I even have an Optimus Prime bobblehead next to my bed.
So when director Michael Bay announced in 2005 that he was planning a Transformers live-action movie with Steven Spielberg as producer, my heart skipped a beat. 2007 came and the film was everything I wanted.
Fast forward ten years and the series has, rightly or wrongly, become a laughing stock for critics the world over. Derided for nonsensical plots, messy special effects and in some cases racism, it’s been regarded as one of the worst film franchises of all time. Does the fifth entry in the franchise, The Last Knight redeem the series somewhat?
Humans are at war with the Transformers and Optimus Prime (Peter Cullen) has disappeared. The key to saving the future lies buried in the secrets of the past and the hidden history of Transformers on Earth. Now, it’s up to the alliance of Cade Yeager (Mark Wahlberg), Bumblebee, a Lord (Sir Anthony Hopkins) and an Oxford professor (Laura Haddock) to save the planet.
Michael Bay’s swansong is definitely the best of the series since the 2007 original, but suffers from all the problems of its 3 sequels.
On a budget of $260million, there was no doubt The Last Knight would look spectacular, but things really have stepped up a gear. The CGI is some of the best put to film and makes the uncharacteristically sloppy special effects of Age of Extinction look incredibly dated.
The Transformers themselves all look great with Bumblebee in particular taking on the role of “lead bot”. Newcomer Squeeks is sure to become the BB-8 of the franchise and is predictably adorable despite his limited screen-time.
Of the cast, it’s a story of same old. The voice acting on all the Transformers is good with a disappointingly underused Peter Cullen stealing the show once again. Mark Wahlberg is permanently likeable and it’s always a pleasure having John Turturro’s Agent Simmons returning to the screen. Laura Haddock is the typical Michael Bay choice of female lead, channelling Megan Fox, Rosie Huntington-Whitely and Nicola Peltz.
However, Sir Anthony Hopkins is where this film raises itself above the parapet. The veteran actor is really exceptional and brightens the movie in every single scene he appears in. You can tell he’s not taking it too seriously, and that is exactly the point of this series.
Sure, the plot is a hot steaming mess of nonsensical dialogue with loose strands of story, and at 149 minutes it’s a good half hour too long, but with all the fear and hate in real life, sometimes it’s nice to switch your brain off and escape to a world where robots exist – and there’s nothing wrong with that.
Michael Bay may not be the subtlest of directors. Give him a classy love story and he’ll turn it into Fifty Shades of Grey, but he’s clearly a very clever man. The critics have savaged this franchise but audiences keep coming back for more and who can blame them?
If this is, as has been said by the man himself, Michael Bay’s last entry into the Transformers canon, then it’s not a bad film to leave on whatsoever.
You know the score by now. Don’t go in expecting Shakespeare or Oscar-winning performances and you’ll be fine. Just make sure you take some paracetamol; crikey it’s loud.
https://moviemetropolis.net/2017/06/24/transformers-the-last-knight-review/
So when director Michael Bay announced in 2005 that he was planning a Transformers live-action movie with Steven Spielberg as producer, my heart skipped a beat. 2007 came and the film was everything I wanted.
Fast forward ten years and the series has, rightly or wrongly, become a laughing stock for critics the world over. Derided for nonsensical plots, messy special effects and in some cases racism, it’s been regarded as one of the worst film franchises of all time. Does the fifth entry in the franchise, The Last Knight redeem the series somewhat?
Humans are at war with the Transformers and Optimus Prime (Peter Cullen) has disappeared. The key to saving the future lies buried in the secrets of the past and the hidden history of Transformers on Earth. Now, it’s up to the alliance of Cade Yeager (Mark Wahlberg), Bumblebee, a Lord (Sir Anthony Hopkins) and an Oxford professor (Laura Haddock) to save the planet.
Michael Bay’s swansong is definitely the best of the series since the 2007 original, but suffers from all the problems of its 3 sequels.
On a budget of $260million, there was no doubt The Last Knight would look spectacular, but things really have stepped up a gear. The CGI is some of the best put to film and makes the uncharacteristically sloppy special effects of Age of Extinction look incredibly dated.
The Transformers themselves all look great with Bumblebee in particular taking on the role of “lead bot”. Newcomer Squeeks is sure to become the BB-8 of the franchise and is predictably adorable despite his limited screen-time.
Of the cast, it’s a story of same old. The voice acting on all the Transformers is good with a disappointingly underused Peter Cullen stealing the show once again. Mark Wahlberg is permanently likeable and it’s always a pleasure having John Turturro’s Agent Simmons returning to the screen. Laura Haddock is the typical Michael Bay choice of female lead, channelling Megan Fox, Rosie Huntington-Whitely and Nicola Peltz.
However, Sir Anthony Hopkins is where this film raises itself above the parapet. The veteran actor is really exceptional and brightens the movie in every single scene he appears in. You can tell he’s not taking it too seriously, and that is exactly the point of this series.
Sure, the plot is a hot steaming mess of nonsensical dialogue with loose strands of story, and at 149 minutes it’s a good half hour too long, but with all the fear and hate in real life, sometimes it’s nice to switch your brain off and escape to a world where robots exist – and there’s nothing wrong with that.
Michael Bay may not be the subtlest of directors. Give him a classy love story and he’ll turn it into Fifty Shades of Grey, but he’s clearly a very clever man. The critics have savaged this franchise but audiences keep coming back for more and who can blame them?
If this is, as has been said by the man himself, Michael Bay’s last entry into the Transformers canon, then it’s not a bad film to leave on whatsoever.
You know the score by now. Don’t go in expecting Shakespeare or Oscar-winning performances and you’ll be fine. Just make sure you take some paracetamol; crikey it’s loud.
https://moviemetropolis.net/2017/06/24/transformers-the-last-knight-review/
Heather Cranmer (2721 KP) rated The Treachery of Beautiful Things in Books
Jun 7, 2018
(This review can also be found on my blog <a href="http://themisadventuresofatwentysomething.blogspot.co.uk">The (Mis)Adventures of a Twenty-Something Year Old Girl</a>).
I had been wanting to read this book since I had first heard about it. I was lucky enough to win it in a blog competition. I'm so glad I did because I loved every second of this book!! It reminded me a little bit like Snow White; not the Disney version but the Grimm's Fairy Tales version.
Jenny is 10 years old when she sees the forest swallow her older brother into the ground. She tries to tell everyone around her that the forest took her brother, but yet, no one believes her. Seven years later, Jenny is walking by the forest when she hears flute music like her brother used to play. Thinking she may be able to find him, she ventures into the very same forest. Little does she know what danger lurks in the forest. Will she be able to save her brother or will she be too late?
The Treachery of Beautiful Things is such a wonderful title for this book! Beautiful things can be dangerous despite their beauty, and how right that is!! The forest is full of beautiful creatures, but not everything is as it seems.
The cover of this book is absolutely gorgeous!! Instead of being just some random picture on the cover, the cover is from a scene in the book, and it fits in beautifully with the title. Well done to the cover artist and the author for choosing this cover. I am entranced by it!
The world building and setting of the forest where the majority of this story takes place is done really well. The author uses great descriptions to make the reader feel as if he/she is a part of it. I easily lost myself in this book and in the forest thanks to the fantastic world building.
The pacing in The Treachery of Beautiful Things is absolutely fantastic! Not once in the story did I feel my attention waning. I was enthralled in the story from the very first page. I reluctantly had to put the book down to do real life things. However, when I had free time, I was devouring this book!
The dialogue is perfect for readers of teen years on up. The dialogue between the characters was very interesting. I especially loved the dialogue between Puck and Jenny.
The author does a great job with character building. I felt the characters were well-developed, and each had their own unique personalities. I loved the character of Jenny. I loved how determined she was to stop at nothing to protect those she loved. Jack was a fantastic character as well. I love how the author made him out to be conflicted but in a believable way. Jack comes across as being a real person instead of a character in a book. Puck was definitely my favourite character by far. He was the one who interjected a lot of humour into this story. I'm thinking the author got the inspiration for Puck from A Midsummer's Night's Dream by Shakespeare. Puck was loyal to a fault to the king, yet he has a heart of gold. Tatania/Mab made an excellent baddie. She reminded me a lot of the queen from Snow White. Oberon was a great baddie as well although he didn't feature as much as Tatania/Mab. We don't learn much about his character until towards the end of the book.
The Treachery of Beautiful Things by Ruth Frances Long is a fantastic story of romance, fairy tale, and suspense. It will keep you wanting more long after you've finished the book.
I'd recommend this book to everyone aged 13+. It's such a lovely read!
I had been wanting to read this book since I had first heard about it. I was lucky enough to win it in a blog competition. I'm so glad I did because I loved every second of this book!! It reminded me a little bit like Snow White; not the Disney version but the Grimm's Fairy Tales version.
Jenny is 10 years old when she sees the forest swallow her older brother into the ground. She tries to tell everyone around her that the forest took her brother, but yet, no one believes her. Seven years later, Jenny is walking by the forest when she hears flute music like her brother used to play. Thinking she may be able to find him, she ventures into the very same forest. Little does she know what danger lurks in the forest. Will she be able to save her brother or will she be too late?
The Treachery of Beautiful Things is such a wonderful title for this book! Beautiful things can be dangerous despite their beauty, and how right that is!! The forest is full of beautiful creatures, but not everything is as it seems.
The cover of this book is absolutely gorgeous!! Instead of being just some random picture on the cover, the cover is from a scene in the book, and it fits in beautifully with the title. Well done to the cover artist and the author for choosing this cover. I am entranced by it!
The world building and setting of the forest where the majority of this story takes place is done really well. The author uses great descriptions to make the reader feel as if he/she is a part of it. I easily lost myself in this book and in the forest thanks to the fantastic world building.
The pacing in The Treachery of Beautiful Things is absolutely fantastic! Not once in the story did I feel my attention waning. I was enthralled in the story from the very first page. I reluctantly had to put the book down to do real life things. However, when I had free time, I was devouring this book!
The dialogue is perfect for readers of teen years on up. The dialogue between the characters was very interesting. I especially loved the dialogue between Puck and Jenny.
The author does a great job with character building. I felt the characters were well-developed, and each had their own unique personalities. I loved the character of Jenny. I loved how determined she was to stop at nothing to protect those she loved. Jack was a fantastic character as well. I love how the author made him out to be conflicted but in a believable way. Jack comes across as being a real person instead of a character in a book. Puck was definitely my favourite character by far. He was the one who interjected a lot of humour into this story. I'm thinking the author got the inspiration for Puck from A Midsummer's Night's Dream by Shakespeare. Puck was loyal to a fault to the king, yet he has a heart of gold. Tatania/Mab made an excellent baddie. She reminded me a lot of the queen from Snow White. Oberon was a great baddie as well although he didn't feature as much as Tatania/Mab. We don't learn much about his character until towards the end of the book.
The Treachery of Beautiful Things by Ruth Frances Long is a fantastic story of romance, fairy tale, and suspense. It will keep you wanting more long after you've finished the book.
I'd recommend this book to everyone aged 13+. It's such a lovely read!