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Connor Sheffield (293 KP) rated Rogue One: A Star Wars Story (2016) in Movies
Apr 18, 2017
New, yet Nostalgic
So whenever I hear that there's going to be a new Star Wars Movie, I get so excited EVERY TIME! However, that's not to say that I don't always feel nervous about this next one could be "The Bad Star Wars Film" because whilst I can find some good aspects of the prequel trilogy (SOME! Not a lot but there is some) I don't enjoy them and prefer to ignore them when having a Star Wars Movie marathon.
So when I heard that there's this film being made that's not and 'episode' but will have some connections to the original trilogy, I was nervous that it might blow some of the lore out the window and try and make their own lore that doesn't fit in with the prequels or the sequels. On the other hand I was so excited to feel that I was getting to see new characters and more of the lore on film such as Kyber Crystals and Jedha itself.
The characters were incredible in my opinion! Felicity Jones portrayed Jyn Erso, and really brought the strong female lead to a new generation of Star Wars fans and film fans in general. Jyn Erso is the Princess Leia of this new generation and honestly she had quite a lot to live up to following Daisy Ridley's portrayal as the strong female lead character, Rey, in Star Wars: The Force Awakens. Long story short, Felicity Jones nailed it! She's strong, independent but also has a lot of history and emotion that we don't get to see a lot of.
Then there's characters like K-2SO who is hilarious in my opinion and Alan Tudyk really brought a droid to life and made him feel more human, but also 'too good to be a human character', because there are certain aspects of the film where I was sat thinking "This character is hilarious to me, but I think the fact that he's a droid and doesn't fully understand a living, breathing, being's train of thought. So if this character was written as a human he wouldn't be as funny to me."
SPOILERS AHEAD!!!
My issue with the film, whilst I did enjoy it and understand WHY they ended it with Jyn's and Cassian's death, but I would love to have seen MORE of these characters. If they wanted to do a film with those characters in the future, it would have to be a more coming of age movie for Jyn and whilst I wouldn't mind seeing more of her growing up to understand her character more, I'd have preferred to see an aftermath film, because I think they could totally write the character to be someone who still fights for the rebellion but has some reason not to be in the events that take place in the original trilogy. Maybe she's taking care of some surviving death troopers, or trying to find out what the Empire's plans are on another planet or in another system because to think that the Empire had all of their subjects in one place concentrating on one project is ridiculous. Perhaps the First Order was being formed secretly in another system, or the Empire was enslaving some planets to prepare them for the Empires master plan of ruling the galaxy.
Overall, I just wanted more of these characters because they were just well written and the film was shot beautifully. To my knowledge, from the top of my head there weren't any jumpy editing cuts, or any moments where, due to camera movement, I would think "what's going on I can't follow the action" etc. It was brilliantly made and it very quickly became not just one of my favourite movies of all time, but one of my favourite Star Wars movies! But I have to give it a 9/10 because of the reasons I stated above...I need more of these characters in future aftermath films, but it cant happen now because of the ending and that makes me sad.
Brilliant Movie, Brilliant Cast, and of course....
THE DARTH VADER CORRIDOR SCENE!
So when I heard that there's this film being made that's not and 'episode' but will have some connections to the original trilogy, I was nervous that it might blow some of the lore out the window and try and make their own lore that doesn't fit in with the prequels or the sequels. On the other hand I was so excited to feel that I was getting to see new characters and more of the lore on film such as Kyber Crystals and Jedha itself.
The characters were incredible in my opinion! Felicity Jones portrayed Jyn Erso, and really brought the strong female lead to a new generation of Star Wars fans and film fans in general. Jyn Erso is the Princess Leia of this new generation and honestly she had quite a lot to live up to following Daisy Ridley's portrayal as the strong female lead character, Rey, in Star Wars: The Force Awakens. Long story short, Felicity Jones nailed it! She's strong, independent but also has a lot of history and emotion that we don't get to see a lot of.
Then there's characters like K-2SO who is hilarious in my opinion and Alan Tudyk really brought a droid to life and made him feel more human, but also 'too good to be a human character', because there are certain aspects of the film where I was sat thinking "This character is hilarious to me, but I think the fact that he's a droid and doesn't fully understand a living, breathing, being's train of thought. So if this character was written as a human he wouldn't be as funny to me."
SPOILERS AHEAD!!!
My issue with the film, whilst I did enjoy it and understand WHY they ended it with Jyn's and Cassian's death, but I would love to have seen MORE of these characters. If they wanted to do a film with those characters in the future, it would have to be a more coming of age movie for Jyn and whilst I wouldn't mind seeing more of her growing up to understand her character more, I'd have preferred to see an aftermath film, because I think they could totally write the character to be someone who still fights for the rebellion but has some reason not to be in the events that take place in the original trilogy. Maybe she's taking care of some surviving death troopers, or trying to find out what the Empire's plans are on another planet or in another system because to think that the Empire had all of their subjects in one place concentrating on one project is ridiculous. Perhaps the First Order was being formed secretly in another system, or the Empire was enslaving some planets to prepare them for the Empires master plan of ruling the galaxy.
Overall, I just wanted more of these characters because they were just well written and the film was shot beautifully. To my knowledge, from the top of my head there weren't any jumpy editing cuts, or any moments where, due to camera movement, I would think "what's going on I can't follow the action" etc. It was brilliantly made and it very quickly became not just one of my favourite movies of all time, but one of my favourite Star Wars movies! But I have to give it a 9/10 because of the reasons I stated above...I need more of these characters in future aftermath films, but it cant happen now because of the ending and that makes me sad.
Brilliant Movie, Brilliant Cast, and of course....
THE DARTH VADER CORRIDOR SCENE!
Rachel King (13 KP) rated American Gods in Books
Feb 11, 2019
I have only ever read one other adult book ( I don't count Coraline) by Gaiman, which was vastly different from this book in both style and mood - Stardust. A friend recommended I read this book many years ago since I like mythology. I found this book really had not much to do with mythology in the classic sense. Instead the characters that were pulled from mythology, such as Odin, Anansi, Horus, Bast, and Ganesha, among others, behaved like has-been D-list celebrities that struggle to survive in a country that is repeatedly described as "...a bad land for gods." The powers they rarely put on display were minimal and amounted to the same kind of "magic" as a skilled pick-pocket, con-artist, or amateur magician. The few times any real power is observed is once during the sexual scene of a re-invented Queen of Sheba (I'll spare you the R-rated details) and when the gods travel "behind the scenes," a state of existence that only the gods can enter.
While the names of classical mythology fit into the category of the Old Gods, there are New Gods that have taken root in America, born from cultural obsessions that have evolved and devolved over the years, such as railroads - a man dressed as a railroad conductor, television - a voice talking through Lucille Ball on a rerun of I Love Lucy, vehicles - stocky men that seemed to resemble vehicles themselves, and internet - a short, nerdy, nervous kid, among other American fixations and stereotypes.
In addition, one of the scenic devices used throughout the plot is what Gaiman's characters describe as places of power - side-of-the-road dives that road-trippers visit for no apparent reason, such as a place boasting the largest doll collection in America or the biggest wheel of cheese. And no, Disneyworld is not one of them.
One of the things I found interesting about this Gaiman-born world is that the Old Gods only exist in the New World when regular people travel from other countries and bring their memories and practices with them, even when they don't intend to stay themselves. The gods are "born" from these average people, and even though they can be killed by others, they don't die otherwise, but instead alternately starve or thrive based on the behavior of the people who live and die in the New World. They all have counterpart manifestations of themselves in the countries they are pulled from, but one's existence does not affect the other - though they do seem to be aware of each other.
All of this is merely the background of the main plot, which centers around the activities and travels of a seemingly mortal man with a single name, Shadow. I never did "get" the one-name thing, but whatever. Through Shadow's narration, the reader learns of an impending storm - a battle between the Old Gods and New Gods, the former fighting for survival and the latter fighting for dominance. Shadow works for a mysterious "Mr. Wednesday" and is randomly haunted by his dead wife, Laura, but otherwise seems to have little drive of his own for most of the book. In fitting irony, he has his own brand of "magic" - an obsession for coin tricks to pass the time from his days spent in prison - which I could never really follow the descriptions of.
To be completely honest, I truly did enjoy this book, though I am struggling to say exactly why. Perhaps I was fascinated by the "shadowy" way that Gaiman told the story, or how he developed this over-the-hill world of gods and goddesses that better resembled America's middle and poor classes' struggles for survival, money, and influence. Some of the personal touches that Shadow's character added to the plot made him at times surprisingly endearing. In addition, the way that Shadow seemed to address the reader at the very end of the book was so satisfying that I laughed out loud and had to read it again several times. Something about that just brought the book to life for me and help me to fully appreciate the versatile style of Gaiman. This is one of those books you don't have to fully understand to fully appreciate.
While the names of classical mythology fit into the category of the Old Gods, there are New Gods that have taken root in America, born from cultural obsessions that have evolved and devolved over the years, such as railroads - a man dressed as a railroad conductor, television - a voice talking through Lucille Ball on a rerun of I Love Lucy, vehicles - stocky men that seemed to resemble vehicles themselves, and internet - a short, nerdy, nervous kid, among other American fixations and stereotypes.
In addition, one of the scenic devices used throughout the plot is what Gaiman's characters describe as places of power - side-of-the-road dives that road-trippers visit for no apparent reason, such as a place boasting the largest doll collection in America or the biggest wheel of cheese. And no, Disneyworld is not one of them.
One of the things I found interesting about this Gaiman-born world is that the Old Gods only exist in the New World when regular people travel from other countries and bring their memories and practices with them, even when they don't intend to stay themselves. The gods are "born" from these average people, and even though they can be killed by others, they don't die otherwise, but instead alternately starve or thrive based on the behavior of the people who live and die in the New World. They all have counterpart manifestations of themselves in the countries they are pulled from, but one's existence does not affect the other - though they do seem to be aware of each other.
All of this is merely the background of the main plot, which centers around the activities and travels of a seemingly mortal man with a single name, Shadow. I never did "get" the one-name thing, but whatever. Through Shadow's narration, the reader learns of an impending storm - a battle between the Old Gods and New Gods, the former fighting for survival and the latter fighting for dominance. Shadow works for a mysterious "Mr. Wednesday" and is randomly haunted by his dead wife, Laura, but otherwise seems to have little drive of his own for most of the book. In fitting irony, he has his own brand of "magic" - an obsession for coin tricks to pass the time from his days spent in prison - which I could never really follow the descriptions of.
To be completely honest, I truly did enjoy this book, though I am struggling to say exactly why. Perhaps I was fascinated by the "shadowy" way that Gaiman told the story, or how he developed this over-the-hill world of gods and goddesses that better resembled America's middle and poor classes' struggles for survival, money, and influence. Some of the personal touches that Shadow's character added to the plot made him at times surprisingly endearing. In addition, the way that Shadow seemed to address the reader at the very end of the book was so satisfying that I laughed out loud and had to read it again several times. Something about that just brought the book to life for me and help me to fully appreciate the versatile style of Gaiman. This is one of those books you don't have to fully understand to fully appreciate.
Movie Metropolis (309 KP) rated Christopher Robin (2018) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
A Future Classic
The characters of Pooh, Eeyore, Piglet and Tigger are synonymous with the childhood of millions of adults across the globe. A.A. Milne’s classic creatures are etched into the memories of many, passed down through generations with tatty old story books and stuffed animals.
Their film history is a little more chequered. True box-office domination has eluded the little critters, until now at least. Rolling off the success of Paddington and its arguably even better sequel, Disney gets in on the action, the live-action that is, and brings Pooh and co to life in Christopher Robin. But does it work?
Christopher Robin (Ewan McGregor) – now a family man living in London – receives a surprise visit from his old childhood pal, Winnie-the-Pooh. With Christopher’s help, Pooh embarks on a journey to find his friends — Tigger, Eeyore, Owl, Piglet, Rabbit, Kanga and Roo. Once reunited, the lovable bear and the gang travel to London to help Christopher rediscover the joy of life.
With Marc Forster’s name attached to directing duties, you’d be forgiven for thinking he’d been hired simply to get the job done. After all, this is the same Marc Forster that brought us the perfectly adequate Quantum of Solace and the enjoyable if undistinguished World War Z. These aren’t the directing credits you’d expect when looking at a film involving a honey-loving bear in a red jumper.
Nevertheless, Forster proves us wrong. Christopher Robin is a sumptuous tale, beautifully realised with a script that makes us stop and look at the little things in life. Much like the film itself as it happens. Ewan McGregor was the ideal choice to play a world-weary Robin. At the brink of exhaustion and close to losing the truly important things in life – his wife (Hayley Atwell) and daughter (Bronte Carmichael), McGregor plays the part beautifully. Watching his inner-child slowly but surely rise to the surface is wonderful to see.
Elsewhere, the entire cast of voices used to bring our cuddly cast to life are absolutely spot on. Jim Cummings’ return as Pooh and Tigger brings a warm familiarity to proceedings and this was a nice touch by Disney to have him back behind the microphone. Toby Jones and former Doctor Who Peter Capaldi are also great as Owl and Rabbit respectively. Brad Garrett’s turn as Eeyore really couldn’t be more perfect.
Christopher Robin…is sure to be a future classic that can be passed down for generations
To look at, Christopher Robin really is sublime. The spectacular Sussex countryside is brought to life in the Hundred Acre Wood and the post-war setting of London lives and breathes right before your eyes. This is a film that draws you in as the script moves our cast from 1940s London, rich with smoke and smog, to lush countryside, heavy with dew and dripping in colour.
The CGI to bring Pooh, Piglet, Eeyore, Tigger, Kanga, Roo, Owl and Rabbit to life is nothing short of astounding. The way their fur moves in the wind feels so real and it is this depth that proves to be the film’s strongest suit. Using Disney’s seemingly unending source of funds, Marc Foster and his team have managed to create something truly astonishing.
Above all though, this is a film about the importance of family, and on that level it succeeds, and then some. While brief, the moments in which we see McGregor and his family spending time together, with Pooh and company in tow, are Christopher Robin’s most poignant. In typical Disney fashion, the film tugs on the heartstrings on more than one occasion, just enough to wipe away a solitary tear, but not enough to dig out the Kleenex.
Christopher Robin is another success for Disney’s live-action arm. With understated performances, very much similar to 2016’s remake of Pete’s Dragon, the House of Mouse has achieved something rather extraordinary. Yes, they’ve brought these wonderful characters back to life, but in a way that honours the books and stuffed animals we will have all grown up with. Unlike this year’s Peter Rabbit that destroyed the legacy of a much-loved literary character, Christopher Robin builds on that and is sure to be a future classic that can be passed down for generations.
https://moviemetropolis.net/2018/08/18/christopher-robin-review-a-future-classic/
Their film history is a little more chequered. True box-office domination has eluded the little critters, until now at least. Rolling off the success of Paddington and its arguably even better sequel, Disney gets in on the action, the live-action that is, and brings Pooh and co to life in Christopher Robin. But does it work?
Christopher Robin (Ewan McGregor) – now a family man living in London – receives a surprise visit from his old childhood pal, Winnie-the-Pooh. With Christopher’s help, Pooh embarks on a journey to find his friends — Tigger, Eeyore, Owl, Piglet, Rabbit, Kanga and Roo. Once reunited, the lovable bear and the gang travel to London to help Christopher rediscover the joy of life.
With Marc Forster’s name attached to directing duties, you’d be forgiven for thinking he’d been hired simply to get the job done. After all, this is the same Marc Forster that brought us the perfectly adequate Quantum of Solace and the enjoyable if undistinguished World War Z. These aren’t the directing credits you’d expect when looking at a film involving a honey-loving bear in a red jumper.
Nevertheless, Forster proves us wrong. Christopher Robin is a sumptuous tale, beautifully realised with a script that makes us stop and look at the little things in life. Much like the film itself as it happens. Ewan McGregor was the ideal choice to play a world-weary Robin. At the brink of exhaustion and close to losing the truly important things in life – his wife (Hayley Atwell) and daughter (Bronte Carmichael), McGregor plays the part beautifully. Watching his inner-child slowly but surely rise to the surface is wonderful to see.
Elsewhere, the entire cast of voices used to bring our cuddly cast to life are absolutely spot on. Jim Cummings’ return as Pooh and Tigger brings a warm familiarity to proceedings and this was a nice touch by Disney to have him back behind the microphone. Toby Jones and former Doctor Who Peter Capaldi are also great as Owl and Rabbit respectively. Brad Garrett’s turn as Eeyore really couldn’t be more perfect.
Christopher Robin…is sure to be a future classic that can be passed down for generations
To look at, Christopher Robin really is sublime. The spectacular Sussex countryside is brought to life in the Hundred Acre Wood and the post-war setting of London lives and breathes right before your eyes. This is a film that draws you in as the script moves our cast from 1940s London, rich with smoke and smog, to lush countryside, heavy with dew and dripping in colour.
The CGI to bring Pooh, Piglet, Eeyore, Tigger, Kanga, Roo, Owl and Rabbit to life is nothing short of astounding. The way their fur moves in the wind feels so real and it is this depth that proves to be the film’s strongest suit. Using Disney’s seemingly unending source of funds, Marc Foster and his team have managed to create something truly astonishing.
Above all though, this is a film about the importance of family, and on that level it succeeds, and then some. While brief, the moments in which we see McGregor and his family spending time together, with Pooh and company in tow, are Christopher Robin’s most poignant. In typical Disney fashion, the film tugs on the heartstrings on more than one occasion, just enough to wipe away a solitary tear, but not enough to dig out the Kleenex.
Christopher Robin is another success for Disney’s live-action arm. With understated performances, very much similar to 2016’s remake of Pete’s Dragon, the House of Mouse has achieved something rather extraordinary. Yes, they’ve brought these wonderful characters back to life, but in a way that honours the books and stuffed animals we will have all grown up with. Unlike this year’s Peter Rabbit that destroyed the legacy of a much-loved literary character, Christopher Robin builds on that and is sure to be a future classic that can be passed down for generations.
https://moviemetropolis.net/2018/08/18/christopher-robin-review-a-future-classic/
Gareth von Kallenbach (980 KP) rated the PlayStation 4 version of Prey in Video Games
Jun 19, 2019
Bethesda and Arkane Studios have combined again on another highly successful and deeply compelling game. After the first two Dishonored games the bar was set exceptionally high and when it was announced that they would be rebooting and reimagining PREY, many gamers were curious to see what would come next.
Playing as Morgan Yu, gamers find themselves aboard the massive Talos I space station during an outbreak of a shape changing enemy known as Typhoids.
The typhoid can mimic any object from a coffee mug to a chair which adds to a high degree of peril facing players as they attempt to survive. Along the way players will be free to explore and take on multiple side quests but resources including precious ammunition are in short supply therefore players will have to gather, recycle, and craft needed materials in order to survive.
The lavish and complex details of the station are impressive but what really makes the game stand out is the multiple ways that players can play the game and complete various objectives. Players are also free to ignore various side quests and select multiple paths to an ending which allows for an incredible amount of replay value.
The enemies are numerous and thanks to a limited amount of ammunition, running and gunning will not work as there are times to fight, run, hide, and you should gray matter in order to survive. At times it can be frustratingly difficult but successfully completing the game does give you a sense of accomplishment which made me think of the first two Dead Space games in terms of their difficulty.
Players will also have the opportunity to enhance their weapons and their abilities ranging from strengthening firearms to being able to mimic the morphing abilities of the Typhoid.
One of my favorites was the Kinetic blast which enabled me to send a powerful shock wave into enemies. This is highly effective but limited due to the amount of kinetic shots and power that a player has at any given time.
Over the numerous hours that I played the game I found myself being drawn further and further into the story line. When multiple mission options arose I often had to face moral choices such as helping fellow survivors or leaving them to their fate so that I may live to complete a mission which ultimately would lead toward completion of the game.
PREY is about choices as the game is crafted to allow players to operate in a morally ambiguous area. You are not required to be the matinee hero nor are you required to be the mustache twirling villain; rather you are free to take advantage of situations as they arise.
One such example saw me take several items of food that had been collected by a group of survivors. I rationalize that with a big battle coming most of them would not survive and that it was up to me to prevail so that I may continue on with the numerous objectives I had before me. This may essentially lead to you having to turn and perhaps kill a fellow survivor which indeed was referenced down the road. The numerous and varied enemies complement the incredibly detailed and massive station which allows for players to take advantage of the zero gravity situations and navigate the outside of the station rather than go through the densely populated core of the station. Of course this only works if various airlocks are indeed open for you to access from the exterior of the station, but this is the type of freedom that players have.
While the difficulty of the game can be a bit frustrating players are able to adjust the difficulty settings and with the multiple gameplay options available to them, patience and persistence will pay off in the end.
The game is a real triumph and is already one of the more impressive titles of 2017. I look forward to seeing what is next for the franchise as PREY is an impressive achievement that will provide countless hours of gaming to even the most hard-core gamer.
http://sknr.net/2017/05/10/prey-3/
Playing as Morgan Yu, gamers find themselves aboard the massive Talos I space station during an outbreak of a shape changing enemy known as Typhoids.
The typhoid can mimic any object from a coffee mug to a chair which adds to a high degree of peril facing players as they attempt to survive. Along the way players will be free to explore and take on multiple side quests but resources including precious ammunition are in short supply therefore players will have to gather, recycle, and craft needed materials in order to survive.
The lavish and complex details of the station are impressive but what really makes the game stand out is the multiple ways that players can play the game and complete various objectives. Players are also free to ignore various side quests and select multiple paths to an ending which allows for an incredible amount of replay value.
The enemies are numerous and thanks to a limited amount of ammunition, running and gunning will not work as there are times to fight, run, hide, and you should gray matter in order to survive. At times it can be frustratingly difficult but successfully completing the game does give you a sense of accomplishment which made me think of the first two Dead Space games in terms of their difficulty.
Players will also have the opportunity to enhance their weapons and their abilities ranging from strengthening firearms to being able to mimic the morphing abilities of the Typhoid.
One of my favorites was the Kinetic blast which enabled me to send a powerful shock wave into enemies. This is highly effective but limited due to the amount of kinetic shots and power that a player has at any given time.
Over the numerous hours that I played the game I found myself being drawn further and further into the story line. When multiple mission options arose I often had to face moral choices such as helping fellow survivors or leaving them to their fate so that I may live to complete a mission which ultimately would lead toward completion of the game.
PREY is about choices as the game is crafted to allow players to operate in a morally ambiguous area. You are not required to be the matinee hero nor are you required to be the mustache twirling villain; rather you are free to take advantage of situations as they arise.
One such example saw me take several items of food that had been collected by a group of survivors. I rationalize that with a big battle coming most of them would not survive and that it was up to me to prevail so that I may continue on with the numerous objectives I had before me. This may essentially lead to you having to turn and perhaps kill a fellow survivor which indeed was referenced down the road. The numerous and varied enemies complement the incredibly detailed and massive station which allows for players to take advantage of the zero gravity situations and navigate the outside of the station rather than go through the densely populated core of the station. Of course this only works if various airlocks are indeed open for you to access from the exterior of the station, but this is the type of freedom that players have.
While the difficulty of the game can be a bit frustrating players are able to adjust the difficulty settings and with the multiple gameplay options available to them, patience and persistence will pay off in the end.
The game is a real triumph and is already one of the more impressive titles of 2017. I look forward to seeing what is next for the franchise as PREY is an impressive achievement that will provide countless hours of gaming to even the most hard-core gamer.
http://sknr.net/2017/05/10/prey-3/
Gareth von Kallenbach (980 KP) rated Harry Potter and the Order of the Phoenix (2007) in Movies
Aug 14, 2019
Life for a teenager is never an easy thing. Between the constant insecurities about appearance, social standing, and other peer pressures,the teen years can be among the most traumatic in a persons life.
However when you are Harry Potter (Daniel Radcliffe), and you have recently survived a one on one confrontation with the evil wizard Voldemort (Ralph Fiennes),
typical teen angst would seem a blessing compared to what is to come.
In the new film, “Harry Potter and the Order of the Phoenix” the classic 5th book in the series by J.K. Rowling has been transfered to the screen by Director David Yates, who shows that he has an affinity for the subject matter, and is not afraid to helm Harry and his friends into the darker chapters of their life.
The film opens with Harry and his cousin Dudley arguing as Harry has taken exception to the taunting over his recent nightmares and his dead parents. When an unexpected attack from dark forces forces Harry to use magic outside of Hogwarts to save their lives. While Harry is successful in his defense, he is shocked to learn that he is to be expelled for the action.
Soon Harry finds his way to a secret locale and is reunited with his friends Ron (Rupert Grint), and Hermione (Emma Watson), as well as his uncle Sirius (Gary Oldman).
Any joy from the reunion is short-lived as Harry learns that the locale is actually a secret lair for the Order of the Phoenix, a secret society dedicated to fighting Lord Voldemort.
Harry has learned that Minister Fudge (Robert Hardy), is using the press to descredit Harry’s tale that Voldemort has returned. In time, Harry is allowed to return to school and returns to find things have changed drastically.
The school has a new defense against the dark arts teacher named Dolores Umbridge (Imelda Staunton), has instituted strict rules and changes at the school and backed by the Ministry, she soon becomes a tyrant to the students, especially Harry whom she punishes severly any time he brings up the fact that Voldemort is back.
As if this were not bad enough, it seems as if a large portion of the school is weary of Harry as they are weary of his claims about Voldemort, and are starting to believe the negative things that have been written about Harry by the Ministry.
Undaunted, Harry and his friends soon begin their own training as Harry instructs them on ways to protect themselves from the dark forces assembling. During this time, Harry also grows closer to fellow student Cho
Chang (Katie Leung), and experiences his first kiss as he transitions from school boy to young man, with the weight of the world upon him.
What follows is an intense adventure as Harry and his friends race against time to save the day from the ever closing darkness, with their very lives hanging in the balance.
This Potter is darker and more mature than previous films and the dark tone and mood of the film is evident from the early scenes.
While there is still some humor in the film, the tone is set by Harry who has become a darker and more torubled individual and the events surrounding him do not
lead to much charm and merriment that was present in the earlier films in the series.
The cast does a good job and the FX work is solid if not spectacular. My biggest issue with the film is that it dragged in many segments and that the finale was not as exciting as I had hoped for. Many times during the film and after, I got the impression that I was watching a two and a half hour commercial for the next film and final book, as there was little in the film for me that drove the story or the mythos forward.
That being said, there were many scenes that I enjoyed in the film, I just wish the pacing of the film could have been better.
The film like Harry transitions into more mature themes and experiences,it just stumbles a bit getting there.
However when you are Harry Potter (Daniel Radcliffe), and you have recently survived a one on one confrontation with the evil wizard Voldemort (Ralph Fiennes),
typical teen angst would seem a blessing compared to what is to come.
In the new film, “Harry Potter and the Order of the Phoenix” the classic 5th book in the series by J.K. Rowling has been transfered to the screen by Director David Yates, who shows that he has an affinity for the subject matter, and is not afraid to helm Harry and his friends into the darker chapters of their life.
The film opens with Harry and his cousin Dudley arguing as Harry has taken exception to the taunting over his recent nightmares and his dead parents. When an unexpected attack from dark forces forces Harry to use magic outside of Hogwarts to save their lives. While Harry is successful in his defense, he is shocked to learn that he is to be expelled for the action.
Soon Harry finds his way to a secret locale and is reunited with his friends Ron (Rupert Grint), and Hermione (Emma Watson), as well as his uncle Sirius (Gary Oldman).
Any joy from the reunion is short-lived as Harry learns that the locale is actually a secret lair for the Order of the Phoenix, a secret society dedicated to fighting Lord Voldemort.
Harry has learned that Minister Fudge (Robert Hardy), is using the press to descredit Harry’s tale that Voldemort has returned. In time, Harry is allowed to return to school and returns to find things have changed drastically.
The school has a new defense against the dark arts teacher named Dolores Umbridge (Imelda Staunton), has instituted strict rules and changes at the school and backed by the Ministry, she soon becomes a tyrant to the students, especially Harry whom she punishes severly any time he brings up the fact that Voldemort is back.
As if this were not bad enough, it seems as if a large portion of the school is weary of Harry as they are weary of his claims about Voldemort, and are starting to believe the negative things that have been written about Harry by the Ministry.
Undaunted, Harry and his friends soon begin their own training as Harry instructs them on ways to protect themselves from the dark forces assembling. During this time, Harry also grows closer to fellow student Cho
Chang (Katie Leung), and experiences his first kiss as he transitions from school boy to young man, with the weight of the world upon him.
What follows is an intense adventure as Harry and his friends race against time to save the day from the ever closing darkness, with their very lives hanging in the balance.
This Potter is darker and more mature than previous films and the dark tone and mood of the film is evident from the early scenes.
While there is still some humor in the film, the tone is set by Harry who has become a darker and more torubled individual and the events surrounding him do not
lead to much charm and merriment that was present in the earlier films in the series.
The cast does a good job and the FX work is solid if not spectacular. My biggest issue with the film is that it dragged in many segments and that the finale was not as exciting as I had hoped for. Many times during the film and after, I got the impression that I was watching a two and a half hour commercial for the next film and final book, as there was little in the film for me that drove the story or the mythos forward.
That being said, there were many scenes that I enjoyed in the film, I just wish the pacing of the film could have been better.
The film like Harry transitions into more mature themes and experiences,it just stumbles a bit getting there.
Chris Sawin (602 KP) rated Faster (2010) in Movies
Jun 22, 2019 (Updated Jun 23, 2019)
I've always wanted to like Dwayne Johnson as an actor. He was so entertaining when he was The Rock, why can't his movies be just as entertaining? Unfortunately his best received films are the more family oriented ones and watching an ex-wrestler who used to talk about his love for pie and "laying the smackdown on all your candy asses" seems a bit bittersweet. Films like Faster are what Johnson should be sticking to, but it doesn't live up to its potential and results in another flat action film.
Wasted potential is the perfect way to describe Faster. Dwayne Johnson spends more time walking around looking pissed off than he does killing anyone or actually saying anything at all. Billy Bob Thornton doesn't do much of anything either as his character struggles between being a drug addict who doesn't amount to anything to a police officer who's about to retire and get full benefits who is also trying to get his family back together again. He spends most of his screen time drowning in his pathetic life. Then there's Dexter's Jennifer Carpenter who seems to be brought into the film to do nothing more than show up, cry a little, and say stupid things. Nothing the actors did really helped drive the story forward.
The cinematography fluctuated between being interesting and being incredibly annoying. Right when something like the way the camera was placed while the driver was driving or something as simple as reloading a gun was done in a way that seemed original to catch your attention, the film would turn around and throw shaky camera techniques at you for no reason or the scenes that caught your eye would be too brief to really make up for the mediocrity of the rest of the film. The most interesting aspect lies within the final minutes and relates to the hired killer going after the driver. That concept alone that's about the length of a one minute conversation is better than Faster as a whole.
Dwayne Johnson seems to have better luck with family films, but I think his fans would rather see him in R-rated action films since his physique and film presence fit that genre best. If he could find a film that was like Faster with a meatier role that gave him more lines and had better writing, it'd probably be a lot more satisfying. The kills in Faster should have been the highlight since the film revolved around the driver gaining revenge for his brother, but they fell short. Everything about Faster did. I was completely expecting Johnson to either turn himself over to the authorities or kill himself to be with his brother at the end of the film. The driver received the revenge he so desperately seeked and did it in a nonchalant, hot-shot vigilante kind of way to let everyone know it was him doing it. Yet police can't seem to keep up with him and he just kind of drives off into the sunset at the end. It felt like Faster was left open ended for nothing more than sequel purposes alone, which is the weakest form of a cop out for a movie ending. Coincidentally, a film called Faster managed to feel twice as long as its 98 minute duration.
In the end, Faster contains elements from both Gone in Sixty Seconds and Taxi Driver, which should result in an excellent film. Instead we're left with an action film that uses these elements at face value; it contains the fast cars and intense chases of Gone in Sixty Seconds with the uneasy and unpredictable shootouts that are reminiscent of Taxi Driver but Faster lacks the depth, star power, enjoyment factor, strong cast, or lasting value these two films still have today. If you plan on seeing this film, you better be sure because that's a long dark road you're headed down (sorry, couldn't resist) and that road is nothing more than a pointless detour from greater things.
Wasted potential is the perfect way to describe Faster. Dwayne Johnson spends more time walking around looking pissed off than he does killing anyone or actually saying anything at all. Billy Bob Thornton doesn't do much of anything either as his character struggles between being a drug addict who doesn't amount to anything to a police officer who's about to retire and get full benefits who is also trying to get his family back together again. He spends most of his screen time drowning in his pathetic life. Then there's Dexter's Jennifer Carpenter who seems to be brought into the film to do nothing more than show up, cry a little, and say stupid things. Nothing the actors did really helped drive the story forward.
The cinematography fluctuated between being interesting and being incredibly annoying. Right when something like the way the camera was placed while the driver was driving or something as simple as reloading a gun was done in a way that seemed original to catch your attention, the film would turn around and throw shaky camera techniques at you for no reason or the scenes that caught your eye would be too brief to really make up for the mediocrity of the rest of the film. The most interesting aspect lies within the final minutes and relates to the hired killer going after the driver. That concept alone that's about the length of a one minute conversation is better than Faster as a whole.
Dwayne Johnson seems to have better luck with family films, but I think his fans would rather see him in R-rated action films since his physique and film presence fit that genre best. If he could find a film that was like Faster with a meatier role that gave him more lines and had better writing, it'd probably be a lot more satisfying. The kills in Faster should have been the highlight since the film revolved around the driver gaining revenge for his brother, but they fell short. Everything about Faster did. I was completely expecting Johnson to either turn himself over to the authorities or kill himself to be with his brother at the end of the film. The driver received the revenge he so desperately seeked and did it in a nonchalant, hot-shot vigilante kind of way to let everyone know it was him doing it. Yet police can't seem to keep up with him and he just kind of drives off into the sunset at the end. It felt like Faster was left open ended for nothing more than sequel purposes alone, which is the weakest form of a cop out for a movie ending. Coincidentally, a film called Faster managed to feel twice as long as its 98 minute duration.
In the end, Faster contains elements from both Gone in Sixty Seconds and Taxi Driver, which should result in an excellent film. Instead we're left with an action film that uses these elements at face value; it contains the fast cars and intense chases of Gone in Sixty Seconds with the uneasy and unpredictable shootouts that are reminiscent of Taxi Driver but Faster lacks the depth, star power, enjoyment factor, strong cast, or lasting value these two films still have today. If you plan on seeing this film, you better be sure because that's a long dark road you're headed down (sorry, couldn't resist) and that road is nothing more than a pointless detour from greater things.
BankofMarquis (1832 KP) rated My Week with Marilyn (2011) in Movies
Dec 30, 2019
Strong performance by Williams in a terrific film
According to my Letterboxd profile, I view (on average) 4.5 films/week. Only 1 or 2 of them in a week are at the theater. The rest, I stream (or pop in the DVD). I spare you (for the most part) my review of mediocre or just plain bad films that I see (case in point the recent A CHRISTMAS CAROL on FX starring Guy Pearce - only watch it if you've ever wanted to see Marley drop the F-bomb multiple times). But...every once in a while I catch up with a gem that compels me to write a review to inform you folks of a wonderful film you might have missed (or have forgotten about).
Such is the case with the 2011 film MY WEEK WITH MARILYN. the adaptation of Colin Clark's memoirs of working as an Assistant Director on the 1957 film THE PRINCE AND THE SHOWGIRL (which starred the unlikely pair of Sir Laurence Olivier and Marilyn Monroe). As Directed by Simon Curtis (WOMAN IN GOLD) MWWM is a wonderful character study of a young man coming of age while watching the clash between the old school acting/working style of Olivier and "the method" of the new age of acting in the guise of Marilyn Monroe.
Eddie Redmayne (before he became the famous Oscar winning Actor for THE THEORY OF EVERYTHING) is perfectly cast as the young Colin Clark. He has a naivete and longing to him that is ideal in this part. You watch him fall in love through the course of this film and you, the filmgoer, fall in love as well.
Bringing the strength and charisma to the screen as Olivier - as expected - is Kenneth Brannagh (MURDER ON THE ORIENT EXPRESS). He was often described as he was ascending in the British Theater world as "the next Olivier" and Brannagh captures his idol well. Giving light to the brilliance, arrogance and impatience of a celebrated actor, Brannagh was (rightfully) nominated for a Best Supporting Actor for his work and he shone whenever he was on the screen.
Which brings me to Michelle Williams Oscar nominated work as Marilyn Monroe. All I can say is...wow. She took on the aura and personae of this icon and I felt as if I was watching a real, troubled person with great charisma on the screen. Williams embodies Monroe both in personality and in physicality (Monroe was a tremendously good physical comedic actress) showing there is much, much more to this actress than the beautiful package that meets the eye. How Williams lost the Oscar to Meryl Streep's portrayal of Margaret Thatcher in THE IRON LADY (a performance I really liked) is beyond me.
It is important that both Brannagh and Redmayne hold their own in this film (and they do) for this performance by Williams could have easily swallowed up all around her - it is that good and powerful a performance. But Director Curtis and Brannagh and Redmayne (as well as wonderful supporting work by such great actors as Judi Dench, Toby Jones, Julia Ormond, Derek Jacoby, Dougray Scott, Emma Watson, Zoe Wannamaker and Dominic Cooper) strongly balance her work to give us, the audience, a pretty balanced portrait of this troubled production and this troubled person.
This is not the fastest paced film you will ever see - but the deliberateness of the pace serves the story well. Colin falls in love with Marilyn (and Marilyn lets him fall in love with her) and we need the time and the space for those emotions to sink in.
If you are looking for a film that is a bit of an antidote to the usual CGI-Fest, SuperHero, Space films that are filling the multiplex, you will be well rewarded with MY WEEK WITH MARILYN. A loving, gentle film with strong performances - a type of film that is in short supply these days.
MY WEEK WITH MARILYN can be currently streamed on NETFLIX. You can also purchase/rent it on Amazon, Vudu, iTunes and YouTube.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Such is the case with the 2011 film MY WEEK WITH MARILYN. the adaptation of Colin Clark's memoirs of working as an Assistant Director on the 1957 film THE PRINCE AND THE SHOWGIRL (which starred the unlikely pair of Sir Laurence Olivier and Marilyn Monroe). As Directed by Simon Curtis (WOMAN IN GOLD) MWWM is a wonderful character study of a young man coming of age while watching the clash between the old school acting/working style of Olivier and "the method" of the new age of acting in the guise of Marilyn Monroe.
Eddie Redmayne (before he became the famous Oscar winning Actor for THE THEORY OF EVERYTHING) is perfectly cast as the young Colin Clark. He has a naivete and longing to him that is ideal in this part. You watch him fall in love through the course of this film and you, the filmgoer, fall in love as well.
Bringing the strength and charisma to the screen as Olivier - as expected - is Kenneth Brannagh (MURDER ON THE ORIENT EXPRESS). He was often described as he was ascending in the British Theater world as "the next Olivier" and Brannagh captures his idol well. Giving light to the brilliance, arrogance and impatience of a celebrated actor, Brannagh was (rightfully) nominated for a Best Supporting Actor for his work and he shone whenever he was on the screen.
Which brings me to Michelle Williams Oscar nominated work as Marilyn Monroe. All I can say is...wow. She took on the aura and personae of this icon and I felt as if I was watching a real, troubled person with great charisma on the screen. Williams embodies Monroe both in personality and in physicality (Monroe was a tremendously good physical comedic actress) showing there is much, much more to this actress than the beautiful package that meets the eye. How Williams lost the Oscar to Meryl Streep's portrayal of Margaret Thatcher in THE IRON LADY (a performance I really liked) is beyond me.
It is important that both Brannagh and Redmayne hold their own in this film (and they do) for this performance by Williams could have easily swallowed up all around her - it is that good and powerful a performance. But Director Curtis and Brannagh and Redmayne (as well as wonderful supporting work by such great actors as Judi Dench, Toby Jones, Julia Ormond, Derek Jacoby, Dougray Scott, Emma Watson, Zoe Wannamaker and Dominic Cooper) strongly balance her work to give us, the audience, a pretty balanced portrait of this troubled production and this troubled person.
This is not the fastest paced film you will ever see - but the deliberateness of the pace serves the story well. Colin falls in love with Marilyn (and Marilyn lets him fall in love with her) and we need the time and the space for those emotions to sink in.
If you are looking for a film that is a bit of an antidote to the usual CGI-Fest, SuperHero, Space films that are filling the multiplex, you will be well rewarded with MY WEEK WITH MARILYN. A loving, gentle film with strong performances - a type of film that is in short supply these days.
MY WEEK WITH MARILYN can be currently streamed on NETFLIX. You can also purchase/rent it on Amazon, Vudu, iTunes and YouTube.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Ivana A. | Diary of Difference (1171 KP) rated The Perks of Being a Wallflower in Books
Dec 17, 2018
Find my review on my blog: www.diaryofdifference.com
We all are, or have once been wallflowers. The shy creatures of the universe, strangled in a problematic world where everything is so confusing and hard. We have all once swam in those deep waters, where the finish line is the act of growing up, and we all coped with it in different ways.
Charlie is struggling with the same things we were, when in high school. The friendships, or lack of them, the crushes, the secret thoughts, the exams, the pressure, the misunderstandings with our parents, our goals, hopes and dreams, our visions of what we will become.
It is an emotional, but very realistic story, about one kid, and all the things he learns while growing up. By learning things the hard way, by listening, by watching things happen to his friends and family, by just being a wallflower.
The author has written this book in a way where Charlie is writing letters to his secret friend, telling him about his daily adventures. I loved this way, because the letters give a sense of confidentiality, of honesty, or pure thoughts with nothing to hide.
Charlie is a shy guy, who has trouble making friends, socialising, and lacks a lot of common sense. To me, this game me vibes of an autistic kid, or an anxious child suffering from PTSD, which hits all the marks, but I don’t know whether or not this was the author’s purpose. It was written in 1998, so I can assume these subjects might have been taboo, as people weren’t as open minded as today.
To me, Charlie was a relatable character. Even though clearly going through a lot more than just a normal kid, in this book, he copes with problems we have all coped. And the part I loved about Charlie the most is – he is honest, so brutally honest, and doesn’t try to hide things he understands or trying to understand. He sees things we don’t tend to see, and he feels things in a way I would want to feel them.
“So, this is my life. And I want you to know that I am both happy and sad and I’m still trying to figure out how that could be.”
He suddenly meets a group of friends, that accept him as he is, and he can be as weird and crazy as he wants, no one bothers. These friendships – my dear reader – are something we all wish for, and some of us are so lucky to have them.
I truly believe that this book is definitely something I would give to my kid to read, or to my small siblings. I wish I had read this 10 years ago, when I would relate more, and when all the high-school topics were relevant. But even now, I can still remember the exact way Charlie felt in some situations, and I wish I had read the book and acted differently on some of mine.
”Charlie, we accept the love we think we deserve.”
Charlie will teach us a lot about high school little traumas, high-school crushes and true love, friendships and betrayals, seeing the family in a different way, and acting on things instead of doing nothing. With Charlie, I went back to high-school, and remembered all the good things and the bad, and I ALMOST shed a few tears for all the memories and times I will never have. Now, I raise a glass, and say cheers for all the good memories and friendships made.
“And I thought about how many people have loved those songs. And how many people got through a lot of bad times because of those songs. And how many people enjoyed good times with those songs. And how much those songs really mean. I think it would be great to have written one of those songs. I bet if I wrote one of them, I would be very proud. I hope the people who wrote those songs are happy. I hope they feel it’s enough. I really do because they’ve made me happy. And I’m only one person.”
Spend a little time, and pick up this book. It is a short and sweet read, and it is a book that everyone should have on their shelves.
We all are, or have once been wallflowers. The shy creatures of the universe, strangled in a problematic world where everything is so confusing and hard. We have all once swam in those deep waters, where the finish line is the act of growing up, and we all coped with it in different ways.
Charlie is struggling with the same things we were, when in high school. The friendships, or lack of them, the crushes, the secret thoughts, the exams, the pressure, the misunderstandings with our parents, our goals, hopes and dreams, our visions of what we will become.
It is an emotional, but very realistic story, about one kid, and all the things he learns while growing up. By learning things the hard way, by listening, by watching things happen to his friends and family, by just being a wallflower.
The author has written this book in a way where Charlie is writing letters to his secret friend, telling him about his daily adventures. I loved this way, because the letters give a sense of confidentiality, of honesty, or pure thoughts with nothing to hide.
Charlie is a shy guy, who has trouble making friends, socialising, and lacks a lot of common sense. To me, this game me vibes of an autistic kid, or an anxious child suffering from PTSD, which hits all the marks, but I don’t know whether or not this was the author’s purpose. It was written in 1998, so I can assume these subjects might have been taboo, as people weren’t as open minded as today.
To me, Charlie was a relatable character. Even though clearly going through a lot more than just a normal kid, in this book, he copes with problems we have all coped. And the part I loved about Charlie the most is – he is honest, so brutally honest, and doesn’t try to hide things he understands or trying to understand. He sees things we don’t tend to see, and he feels things in a way I would want to feel them.
“So, this is my life. And I want you to know that I am both happy and sad and I’m still trying to figure out how that could be.”
He suddenly meets a group of friends, that accept him as he is, and he can be as weird and crazy as he wants, no one bothers. These friendships – my dear reader – are something we all wish for, and some of us are so lucky to have them.
I truly believe that this book is definitely something I would give to my kid to read, or to my small siblings. I wish I had read this 10 years ago, when I would relate more, and when all the high-school topics were relevant. But even now, I can still remember the exact way Charlie felt in some situations, and I wish I had read the book and acted differently on some of mine.
”Charlie, we accept the love we think we deserve.”
Charlie will teach us a lot about high school little traumas, high-school crushes and true love, friendships and betrayals, seeing the family in a different way, and acting on things instead of doing nothing. With Charlie, I went back to high-school, and remembered all the good things and the bad, and I ALMOST shed a few tears for all the memories and times I will never have. Now, I raise a glass, and say cheers for all the good memories and friendships made.
“And I thought about how many people have loved those songs. And how many people got through a lot of bad times because of those songs. And how many people enjoyed good times with those songs. And how much those songs really mean. I think it would be great to have written one of those songs. I bet if I wrote one of them, I would be very proud. I hope the people who wrote those songs are happy. I hope they feel it’s enough. I really do because they’ve made me happy. And I’m only one person.”
Spend a little time, and pick up this book. It is a short and sweet read, and it is a book that everyone should have on their shelves.
Gareth von Kallenbach (980 KP) rated Mid90s (2018) in Movies
Jul 2, 2019
It doesn’t take much to remember that Jonah Hill (writer and director) had already acted in one of the greatest coming-of-age movies at the age of 24. A cursory glance at Superbad shows it to be a hilarious and quotable movie. But a deeper look at the film reveals the true story. Two high school friends (Hill and Michael Cera) who realize they are drifting apart because of incoming adulthood and that they are powerless to stop it. Keeping that in mind, Hill was quoted during the production of Mid 90s as saying that coming-of-age films are cliché and what he really wanted was to make a skateboarding movie that avoided the 80s “cowabunga” tropes. The result of that focus is Mid 90s.
Sunny Suljic plays 13-year-old Stevie, a quiet and often confused boy looking to escape his bleak and abusive home life by connecting with a group of local skater kids. While Suljic absolutely steals the show with his superb acting, his (mostly no name) costars deserve massive kudos for this endeavor as well. Lucas Hedges (Manchester by the Sea, Three Billboards outside of Ebbing Missouri) plays Stevie’s abusive older brother Ian. Though he is quickly established in the opening shot as the antagonist, his character arc throughout the film is one of the greatest and you find yourself soon empathetic to his plight nearly as much as Stevie’s. The skater gang is comprised of Ray (Na-kel Smith), Fuckshit (Olan Prenatt), 4th Grade (Ryder McLaughlin) and Ruben (Gio Galicia). These four seem apathetically content to take Stevie under their wing after he begins hanging out at their skate shop. During this time they expose Stevie to a world of drinking, smoking, drugs and sex as well as a complex set of personalities that Stevie struggles to understand but tries desperately to emulate. This reverence begins to lead him down a path that worry not only his mother and brother, but also occasionally members of his new social group. The actors playing his newfound friends all bring a beautiful authenticity to their roles. They certainly aren’t playing “themselves”, but their personalities don’t feel concocted or forced.
The original score for the film was done by Trent Reznor and Atticus Ross as well as a selection of 1990s Hip Hop. And while the original music by Reznor and Ross accents the film perfectly, the 90s throwback songs struggle to do more than remind the viewer of the period and provide the sporadic nostalgia kick. In fact, most of the 90s nostalgia does little to add to the film. Thus, while the opportunity was there to give us a solid examination and social commentary on 1990s culture, Hill seems to fall short of that concept and instead uses the references as a gimmick to tie in smaller plot points.
In addition to the music, there are a few other elements that add to the hipster vintage nature of the film. It was shot entirely on 16mm and is presented in square 1:1 ratio. While this is certainly an unusual choice as more movies are shifted to wide screen formats and square televisions are no longer produced, it pushes the film closer towards the verité genre that is necessary to keep it within the indie style guide.
Mid 90s, along with Eighth Grade have positioned A24 studios in a fantastic place. They’ve demonstrated their willingness to get behind first time writer/directors and the results have been impressive to say the least. If they can remain on this type of pace I could see how the Academy would take notice come awards season.
So despite his view that they are cliché, Jonah Hill has once again created a poignant and powerful coming-of-age movie and he’s managed to wrap it into just enough skateboarding reality to give us the love letter he was hoping to produce. The film is not without its faults, but it’s not one you should miss.
Sunny Suljic plays 13-year-old Stevie, a quiet and often confused boy looking to escape his bleak and abusive home life by connecting with a group of local skater kids. While Suljic absolutely steals the show with his superb acting, his (mostly no name) costars deserve massive kudos for this endeavor as well. Lucas Hedges (Manchester by the Sea, Three Billboards outside of Ebbing Missouri) plays Stevie’s abusive older brother Ian. Though he is quickly established in the opening shot as the antagonist, his character arc throughout the film is one of the greatest and you find yourself soon empathetic to his plight nearly as much as Stevie’s. The skater gang is comprised of Ray (Na-kel Smith), Fuckshit (Olan Prenatt), 4th Grade (Ryder McLaughlin) and Ruben (Gio Galicia). These four seem apathetically content to take Stevie under their wing after he begins hanging out at their skate shop. During this time they expose Stevie to a world of drinking, smoking, drugs and sex as well as a complex set of personalities that Stevie struggles to understand but tries desperately to emulate. This reverence begins to lead him down a path that worry not only his mother and brother, but also occasionally members of his new social group. The actors playing his newfound friends all bring a beautiful authenticity to their roles. They certainly aren’t playing “themselves”, but their personalities don’t feel concocted or forced.
The original score for the film was done by Trent Reznor and Atticus Ross as well as a selection of 1990s Hip Hop. And while the original music by Reznor and Ross accents the film perfectly, the 90s throwback songs struggle to do more than remind the viewer of the period and provide the sporadic nostalgia kick. In fact, most of the 90s nostalgia does little to add to the film. Thus, while the opportunity was there to give us a solid examination and social commentary on 1990s culture, Hill seems to fall short of that concept and instead uses the references as a gimmick to tie in smaller plot points.
In addition to the music, there are a few other elements that add to the hipster vintage nature of the film. It was shot entirely on 16mm and is presented in square 1:1 ratio. While this is certainly an unusual choice as more movies are shifted to wide screen formats and square televisions are no longer produced, it pushes the film closer towards the verité genre that is necessary to keep it within the indie style guide.
Mid 90s, along with Eighth Grade have positioned A24 studios in a fantastic place. They’ve demonstrated their willingness to get behind first time writer/directors and the results have been impressive to say the least. If they can remain on this type of pace I could see how the Academy would take notice come awards season.
So despite his view that they are cliché, Jonah Hill has once again created a poignant and powerful coming-of-age movie and he’s managed to wrap it into just enough skateboarding reality to give us the love letter he was hoping to produce. The film is not without its faults, but it’s not one you should miss.
Matthew Krueger (10051 KP) rated the Xbox 360 version of Doom in Video Games
Mar 20, 2020
Kick Some Ass
Doom- such a classic to all, I personally didnt play doom until the 360. Yes you read that right, i didnt play this game until the 360. So lets talk about it.
The gameplay:
Doom is a first-person shooter presented with early 3D graphics. The player controls an unnamed space marine—later termed the Doomguy—through a series of levels set in military bases on the moons of Mars and in Hell. To finish a level, the player must traverse through the area to reach a marked exit room. Levels are grouped together into named episodes, with the final level focusing on a boss fight with a particularly difficult enemy.
While traversing the levels, the player must fight a variety of enemies, including demons and possessed undead humans, while managing supplies of ammunition, health, and armor. Enemies often appear in large groups, and the game features five difficulty levels which increase the quantity and damage done by enemies, with enemies respawning upon death and moving faster than normal on the hardest difficulty setting.
Levels can also include pits of toxic waste, ceilings that lower and crush anything below them, and locked doors which require a keycard, skull-shaped key device, or a remote switch to be opened.
The plot:
Doom is divided into three episodes: "Knee-Deep in the Dead", "The Shores of Hell", and "Inferno". A fourth episode, "Thy Flesh Consumed", was added in an expanded version of the game, The Ultimate Doom. The game itself contains very few plot elements, with the minimal story instead given in the instruction manual and short text segues between episodes.
In the future, the player character (an unnamed space marine) has been punitively posted to Mars after assaulting a superior officer, who ordered his unit to fire on civilians. Players assume the role of a space marine, popularly known as "Doomguy", fighting his way through hordes of invading demons from Hell.
The Impact/Legacy:
Doom helped define the FPS genre and inspired numerous similar games, known as "Doom clones". It is one of the most significant games in video game history, and is frequently cited as one of the greatest games of all time. It pioneered online distribution and technologies including 3D graphics, networked multiplayer gaming, and support for customized modifications via packaged files (WADs). However, its graphic violence and hellish imagery also made it a subject of controversy.
Doom was influential and dozens of new first-person shooter titles appeared following Doom's release, and they were often referred to as "Doom clones" rather than "first-person shooters". The term "Doom clone" was used to describe the style of gameplay in Doom-style games. While the term was initially popular, it was, after 1996, gradually replaced by "first-person shooter", and the phrase "first-person shooter" had firmly superseded "Doom clone" around 1998. Some of these were certainly "clones", hastily assembled and quickly forgotten, while others explored new grounds of the genre and were highly acclaimed. Many of the games closely imitated features in Doom such as the selection of weapons and cheat codes.
Devoted players have spent years creating speedruns for Doom, competing for the quickest completion times and sharing knowledge about routes through the levels and how to exploit bugs in the Doom engine for shortcuts. Achievements include the completion of both Doom and Doom II on the "Ultra-Violence" difficulty setting in less than 30 minutes each. In addition, a few players have also managed to complete Doom II in a single run on the difficulty setting "Nightmare!", on which monsters are more aggressive, launch faster projectiles (or, in the case of the Pinky Demon, simply move faster), and respawn roughly 30 seconds after they have been killed (level designer John Romero characterized the idea of such a run as "[just having to be] impossible").
So overall Doom is a epic game, and started the first person shooter genre, started speedrunning and started the franchise as we know today. So thank you id software and John Ramero for this game.
The gameplay:
Doom is a first-person shooter presented with early 3D graphics. The player controls an unnamed space marine—later termed the Doomguy—through a series of levels set in military bases on the moons of Mars and in Hell. To finish a level, the player must traverse through the area to reach a marked exit room. Levels are grouped together into named episodes, with the final level focusing on a boss fight with a particularly difficult enemy.
While traversing the levels, the player must fight a variety of enemies, including demons and possessed undead humans, while managing supplies of ammunition, health, and armor. Enemies often appear in large groups, and the game features five difficulty levels which increase the quantity and damage done by enemies, with enemies respawning upon death and moving faster than normal on the hardest difficulty setting.
Levels can also include pits of toxic waste, ceilings that lower and crush anything below them, and locked doors which require a keycard, skull-shaped key device, or a remote switch to be opened.
The plot:
Doom is divided into three episodes: "Knee-Deep in the Dead", "The Shores of Hell", and "Inferno". A fourth episode, "Thy Flesh Consumed", was added in an expanded version of the game, The Ultimate Doom. The game itself contains very few plot elements, with the minimal story instead given in the instruction manual and short text segues between episodes.
In the future, the player character (an unnamed space marine) has been punitively posted to Mars after assaulting a superior officer, who ordered his unit to fire on civilians. Players assume the role of a space marine, popularly known as "Doomguy", fighting his way through hordes of invading demons from Hell.
The Impact/Legacy:
Doom helped define the FPS genre and inspired numerous similar games, known as "Doom clones". It is one of the most significant games in video game history, and is frequently cited as one of the greatest games of all time. It pioneered online distribution and technologies including 3D graphics, networked multiplayer gaming, and support for customized modifications via packaged files (WADs). However, its graphic violence and hellish imagery also made it a subject of controversy.
Doom was influential and dozens of new first-person shooter titles appeared following Doom's release, and they were often referred to as "Doom clones" rather than "first-person shooters". The term "Doom clone" was used to describe the style of gameplay in Doom-style games. While the term was initially popular, it was, after 1996, gradually replaced by "first-person shooter", and the phrase "first-person shooter" had firmly superseded "Doom clone" around 1998. Some of these were certainly "clones", hastily assembled and quickly forgotten, while others explored new grounds of the genre and were highly acclaimed. Many of the games closely imitated features in Doom such as the selection of weapons and cheat codes.
Devoted players have spent years creating speedruns for Doom, competing for the quickest completion times and sharing knowledge about routes through the levels and how to exploit bugs in the Doom engine for shortcuts. Achievements include the completion of both Doom and Doom II on the "Ultra-Violence" difficulty setting in less than 30 minutes each. In addition, a few players have also managed to complete Doom II in a single run on the difficulty setting "Nightmare!", on which monsters are more aggressive, launch faster projectiles (or, in the case of the Pinky Demon, simply move faster), and respawn roughly 30 seconds after they have been killed (level designer John Romero characterized the idea of such a run as "[just having to be] impossible").
So overall Doom is a epic game, and started the first person shooter genre, started speedrunning and started the franchise as we know today. So thank you id software and John Ramero for this game.
