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BankofMarquis (1832 KP) rated Operation Finale (2018) in Movies
Sep 11, 2018
Very Good Film with 2 Very Good Performances
The kids are back in school, the leaves are beginning to turn and Halloween is just around the corner (if you believe the displays in the stores), which means it's a "dead period" at the Cineplex for decent films. So, the BankofMarquis headed to the "Art House" to check out a well made, well directed and well acted post WWII drama - OPERATION FINALE.
Set in the early 1960's, OPERATION FINALE tells the tale of Israeli Secret Service Agent's attempt to capture Adolph Eichman in Argentina and bring him back to Israel to face a very public, world-wide trial for his role as the "Architect of the Final Solution".
In other hands, this film could have very easily devolved into a Jason Bourne-type action flick with kick-ass Mossad agents fighting Nazi-loving Argentinian police (with assists from once and future Nazi's). But, in the hands of Writer Matthew Orton (in his major Screenplay debut) and Director Chris Weitz (ABOUT A BOY) this film becomes something much more, much deeper and much more interesting than that, it becomes a character study between Eichman and Mossad Agent Peter Malkin.
The first 1/2 hour of the film starts out "action-y" enough, with the discovery of Eichman and the Mossad's planning of the caper that will bring him to justice. We get the "gathering of the team" - and there's a couple of interesting characters in this group - specifically the characters played by Nick Kroll and Melanie Laurent - but the film really takes off and finds it's footing when the team - and the film - is forced to slow down (waiting for their escape plane to show up) and coax a confession (of sorts) out of Eichman.
So the middle part of this film is really a "two-hander" interrogation between Malkin (Oscar Isaac) and Eichman (Sir Ben Kingsley) - and both really bring it. Isaac (EX MACHINA, STAR WARS) shows a sadness and vulnerability as the agent who's life was deeply affected by the death of his sister (and other family members) at the hands of the SS. He is out to nail Eichman for his crime, but discovers a humanity (both in himself and in Eichman) along the way.
But the picture really belongs to the performance of Sir Ben as Eichman. This is a larger than life actor portraying a larger than life character and more than holds the audience's attention whenever he is on the scene - and when it comes down to an interrogation of Eichman by Malkin, the positions are quickly switched and it is Eichman who is the interrogator and Malkin is in the hot seat. It's not quite an "Oscar-worthy" performance, falling just short of that, but darn good nonetheless.
The final 1/2 hour of the film falls prey to the "Argo" ending - making a more exciting escape than it was in real life - but that is just a quibble for a really good, really intelligent and really ADULT film. One that is well worth checking out at an Art House near you.
Letter Grade A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
Set in the early 1960's, OPERATION FINALE tells the tale of Israeli Secret Service Agent's attempt to capture Adolph Eichman in Argentina and bring him back to Israel to face a very public, world-wide trial for his role as the "Architect of the Final Solution".
In other hands, this film could have very easily devolved into a Jason Bourne-type action flick with kick-ass Mossad agents fighting Nazi-loving Argentinian police (with assists from once and future Nazi's). But, in the hands of Writer Matthew Orton (in his major Screenplay debut) and Director Chris Weitz (ABOUT A BOY) this film becomes something much more, much deeper and much more interesting than that, it becomes a character study between Eichman and Mossad Agent Peter Malkin.
The first 1/2 hour of the film starts out "action-y" enough, with the discovery of Eichman and the Mossad's planning of the caper that will bring him to justice. We get the "gathering of the team" - and there's a couple of interesting characters in this group - specifically the characters played by Nick Kroll and Melanie Laurent - but the film really takes off and finds it's footing when the team - and the film - is forced to slow down (waiting for their escape plane to show up) and coax a confession (of sorts) out of Eichman.
So the middle part of this film is really a "two-hander" interrogation between Malkin (Oscar Isaac) and Eichman (Sir Ben Kingsley) - and both really bring it. Isaac (EX MACHINA, STAR WARS) shows a sadness and vulnerability as the agent who's life was deeply affected by the death of his sister (and other family members) at the hands of the SS. He is out to nail Eichman for his crime, but discovers a humanity (both in himself and in Eichman) along the way.
But the picture really belongs to the performance of Sir Ben as Eichman. This is a larger than life actor portraying a larger than life character and more than holds the audience's attention whenever he is on the scene - and when it comes down to an interrogation of Eichman by Malkin, the positions are quickly switched and it is Eichman who is the interrogator and Malkin is in the hot seat. It's not quite an "Oscar-worthy" performance, falling just short of that, but darn good nonetheless.
The final 1/2 hour of the film falls prey to the "Argo" ending - making a more exciting escape than it was in real life - but that is just a quibble for a really good, really intelligent and really ADULT film. One that is well worth checking out at an Art House near you.
Letter Grade A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (971 KP) rated Rogue One: A Star Wars Story (2016) in Movies
Jun 19, 2019
Jyn Erso (Felicity Jones) is a young woman who has no love for the evil Galactic Empire or authority. She has seen her share of tragedy and has learned to be a survivor in a cold and dangerous galaxy. Fate has other plans for Jyn in “Rogue One: A Star Wars Story”, as she may be the key to unlocking the secret’s to defeating the Empire’s new weapon, a planet killer known as “The Death Star”.
The Rebel Alliance believes that Jyn’s father Galen (Mads Mikkelsen) is the key thanks to information they have recovered from a defecting pilot.
Tasked with eliminating the threat, Jyn and Rebel intelligence officer Cassian Andor (Diego Luna), and his droid K-2S0 (Alan Tudyk), must race against time and overcome several obstacles to complete their mission.
Of course things are bigger and the stakes far more higher than anyone could have imagined and with the Rebel Alliance divided a small band of rebels hatch a plan born of desperation to save the galaxy.
The film moves along at a brisk pace but allows time to introduce several new planets into the Star Wars universe as well as several new characters, who we are given just enough about their backstories and motivations to make us care about them in the epic struggle they are undertaking.
Director Gareth Edwards paces the film well and unlike the Prequel Series; never lets the abundance of amazing effects overshadow the fact that the story at its core is a struggle of ordinary people facing overwhelming odds.
The look of the film is a loving tribute to the original series that tells its own unique and distinct story that fits well within the established storylines without seeming gratuitous or recycled.
The film does at times have a darker tone than fans would be used to seeing in the series, but it is done in a way that shows the seriousness of the situations facing the characters.
The strong cast works very well with one another and are each giving some memorable lines and moments which are sure to endear themselves to fans of the series that grew up on the classic films.
The finale third of the film is a great mix of action and suspense as conclusion builds and I can honestly say that “Rogue One” delivers the best space battle in the series and only falls short of the Hoth battle in terms of ground conflicts.
There are a few great surprises for fans sprinkled throughout and the film answers some of the questions people had from the original series but does so in a way that is respectful and in no way undermines the classic.
“Rogue One: A Star Wars Story” is an outstanding entry into the series and is one of the most compelling and rewarding.
I look forward to seeing what future efforts have in store for fans, as this film shows that the Force is indeed strong.
http://sknr.net/2016/12/13/non-spolier-review-rogue-one-star-wars-story/
The Rebel Alliance believes that Jyn’s father Galen (Mads Mikkelsen) is the key thanks to information they have recovered from a defecting pilot.
Tasked with eliminating the threat, Jyn and Rebel intelligence officer Cassian Andor (Diego Luna), and his droid K-2S0 (Alan Tudyk), must race against time and overcome several obstacles to complete their mission.
Of course things are bigger and the stakes far more higher than anyone could have imagined and with the Rebel Alliance divided a small band of rebels hatch a plan born of desperation to save the galaxy.
The film moves along at a brisk pace but allows time to introduce several new planets into the Star Wars universe as well as several new characters, who we are given just enough about their backstories and motivations to make us care about them in the epic struggle they are undertaking.
Director Gareth Edwards paces the film well and unlike the Prequel Series; never lets the abundance of amazing effects overshadow the fact that the story at its core is a struggle of ordinary people facing overwhelming odds.
The look of the film is a loving tribute to the original series that tells its own unique and distinct story that fits well within the established storylines without seeming gratuitous or recycled.
The film does at times have a darker tone than fans would be used to seeing in the series, but it is done in a way that shows the seriousness of the situations facing the characters.
The strong cast works very well with one another and are each giving some memorable lines and moments which are sure to endear themselves to fans of the series that grew up on the classic films.
The finale third of the film is a great mix of action and suspense as conclusion builds and I can honestly say that “Rogue One” delivers the best space battle in the series and only falls short of the Hoth battle in terms of ground conflicts.
There are a few great surprises for fans sprinkled throughout and the film answers some of the questions people had from the original series but does so in a way that is respectful and in no way undermines the classic.
“Rogue One: A Star Wars Story” is an outstanding entry into the series and is one of the most compelling and rewarding.
I look forward to seeing what future efforts have in store for fans, as this film shows that the Force is indeed strong.
http://sknr.net/2016/12/13/non-spolier-review-rogue-one-star-wars-story/
Ryan Hill (152 KP) rated Captain America: Civil War (2016) in Movies
May 11, 2019
Chris Evans as Steve Rogers/ Captain America
RDJ as Tony Stark/Iron man
Sebastian Stan as Bucky Barnes
Tom Holland as Peter Parker/Spider-man
Chadwick Boseman as Black panther/Tchalla (1 more)
The Airport fight scene
The climatic three-way battle
Zemo is a fantastic villian brilliantly played by Daniel Bruhl
Feels like a Captain America movie
Giant-Man is awesome,so is Paul Rudd
Mission Report, December 16, 1991
"Captain America: Civil War" is not only the best "Captain America" movie yet, but it may just be at the very top of the Marvel Cinematic Universe, due to it's emotionally satisfying themes. That may seem like extremely high praise, so I will explain why I believe that to be true, as well as why I think this is the most mature Marvel film to this point. Loosely following the events of both "Captain America: The Winter Solider" and "Avengers: Age of Ultron," while still harking back to previous films from this universe, this 13th installment in the ever growing Marvel Cinematic Universe, follows the team on different paths as they are once again pulled together.
Opening the film in the past, audiences will be given a look into the life of the Winter Soldier, as his character will later have the biggest impact on the story at hand. Flash forward to the Avengers. The team is realizing that the events from the past have killed many innocent lives in the process and they must decide whether or not they want to sign the "Sokovia Accords" and be restrained by the government, and only released when called upon. This divides the team stronger than ever before, creating friction as to what the right move truly is. Then arrives the Winter Soldier. Still brainwashed, Bucky causes Steve to go after him (a fugitive), thus sparking the war of family and friendship within the team. This is just the basis. There are many levels to this picture, including the addition of Zemo as the side villain.
This character served a very pivotal role in my opinion and definitely does not deserve the flack he is receiving. Daniel Bruhl is terrific in everything he is in and he only justified that more with this character. Without giving anything away, his character is involved with the heart of the story and is the reason for many actions/motivations. This review has been very dour so far and that is due to the fact that the entire first act of this film is extremely sad, but enjoyably so. Unlike certain unnamed films, this has a very light tone which elevates enough of the somber moments, making for a very balanced film throughout.
The central dynamic/conflict of Steve Rodgers (Captain America), Bucky Barnes (Winter Soldier) and Tony Stark ( Iron man) is what elevates the film for me. These are my three favourite characters and you follow their stories as they weave together and by the end you don't know who's side you are on as they beat each other down in what i'd call the most brutal fight in the mcu. Chris Evans and Robert Downey Jr are fantastic in this film both of them once again improve their performances over the other films but Sebastian Stan steals the movie for me, Bucky Barnes is a tragic character and sebastian sells you on that tragedy and also makes Bucky likeable again whilst not being the winter soldier persona but also not the same Bucky from the first avenger. You sympathize with him even after all of the bad things he did, he was amazing and his arc was my favourite in the movie.
Speaking of the light tone, the addition of "Ant-Man" and "Spider-Man" was absolutely fantastic and needed for this depressing story. It is hard to watch the character having to fight each other, especially when you have come to love them over the last eight years, so it was necessary to include some fun. Paul Rudd is great once again, "fanboying" out just like audiences, and his action sequences are nothing short of crowd-pleasing. That being said, "Spider-Man" is still the standout here. Tom Holland get's a very solid introduction as to who he is, where he has been, and how he got his spider abilities. The chemistry between Peter and Tony was masterful and I could not get enough of it. "Spider-Man" nearly steals the show with his contribution.
Within two scenes of meeting "Black Panther," they are able to establish his past, why he is present, and what his motives are, as far as siding with "Iron Man" goes. No, he does not have a clear side, but that is for specifics that can not be discussed here. Chadwick Boseman is great and his action sequences are terrific. It may seem like this review is overly character-driven, but that is exactly what this film is all about. Developing character in characters you thought you had already known from front to back. The excessive amount of layers in this film work in many more ways than one.
Joe and Anthony Russo have proven why they are the best thing that could have ever been added to this universe, directing this film with ease. Bringing on the directors of "John Wick" (Chad Stahelski and David Leitch) was an incredible idea, as the action sequences throughout this entire film are some of the best you will ever lay eyes on in the Marvel Cinematic Universe. If for some reason you walked out of this film disappointed, I can confidently say that you are crazy to not have been blown away by the action throughout this picture, especially the incredible airport sequence.
"Captain America: Civil War" is first and foremost a Captain America sequel, while simultaneously being a great Avengers sequel. Directed brilliantly, terrifically performed all around, with jaw-dropping action set pieces and a very raw emotional core. "Captain America: Civil War" is a triumph in every sense of the word. Absolutely amazing.
Opening the film in the past, audiences will be given a look into the life of the Winter Soldier, as his character will later have the biggest impact on the story at hand. Flash forward to the Avengers. The team is realizing that the events from the past have killed many innocent lives in the process and they must decide whether or not they want to sign the "Sokovia Accords" and be restrained by the government, and only released when called upon. This divides the team stronger than ever before, creating friction as to what the right move truly is. Then arrives the Winter Soldier. Still brainwashed, Bucky causes Steve to go after him (a fugitive), thus sparking the war of family and friendship within the team. This is just the basis. There are many levels to this picture, including the addition of Zemo as the side villain.
This character served a very pivotal role in my opinion and definitely does not deserve the flack he is receiving. Daniel Bruhl is terrific in everything he is in and he only justified that more with this character. Without giving anything away, his character is involved with the heart of the story and is the reason for many actions/motivations. This review has been very dour so far and that is due to the fact that the entire first act of this film is extremely sad, but enjoyably so. Unlike certain unnamed films, this has a very light tone which elevates enough of the somber moments, making for a very balanced film throughout.
The central dynamic/conflict of Steve Rodgers (Captain America), Bucky Barnes (Winter Soldier) and Tony Stark ( Iron man) is what elevates the film for me. These are my three favourite characters and you follow their stories as they weave together and by the end you don't know who's side you are on as they beat each other down in what i'd call the most brutal fight in the mcu. Chris Evans and Robert Downey Jr are fantastic in this film both of them once again improve their performances over the other films but Sebastian Stan steals the movie for me, Bucky Barnes is a tragic character and sebastian sells you on that tragedy and also makes Bucky likeable again whilst not being the winter soldier persona but also not the same Bucky from the first avenger. You sympathize with him even after all of the bad things he did, he was amazing and his arc was my favourite in the movie.
Speaking of the light tone, the addition of "Ant-Man" and "Spider-Man" was absolutely fantastic and needed for this depressing story. It is hard to watch the character having to fight each other, especially when you have come to love them over the last eight years, so it was necessary to include some fun. Paul Rudd is great once again, "fanboying" out just like audiences, and his action sequences are nothing short of crowd-pleasing. That being said, "Spider-Man" is still the standout here. Tom Holland get's a very solid introduction as to who he is, where he has been, and how he got his spider abilities. The chemistry between Peter and Tony was masterful and I could not get enough of it. "Spider-Man" nearly steals the show with his contribution.
Within two scenes of meeting "Black Panther," they are able to establish his past, why he is present, and what his motives are, as far as siding with "Iron Man" goes. No, he does not have a clear side, but that is for specifics that can not be discussed here. Chadwick Boseman is great and his action sequences are terrific. It may seem like this review is overly character-driven, but that is exactly what this film is all about. Developing character in characters you thought you had already known from front to back. The excessive amount of layers in this film work in many more ways than one.
Joe and Anthony Russo have proven why they are the best thing that could have ever been added to this universe, directing this film with ease. Bringing on the directors of "John Wick" (Chad Stahelski and David Leitch) was an incredible idea, as the action sequences throughout this entire film are some of the best you will ever lay eyes on in the Marvel Cinematic Universe. If for some reason you walked out of this film disappointed, I can confidently say that you are crazy to not have been blown away by the action throughout this picture, especially the incredible airport sequence.
"Captain America: Civil War" is first and foremost a Captain America sequel, while simultaneously being a great Avengers sequel. Directed brilliantly, terrifically performed all around, with jaw-dropping action set pieces and a very raw emotional core. "Captain America: Civil War" is a triumph in every sense of the word. Absolutely amazing.
Chris Sawin (602 KP) rated A Clockwork Orange (1971) in Movies
Jun 15, 2019
Alex DeLarge (Malcolm McDowell) is your average eighteen year old boy...if by average, you mean he fully embraces the old ultraviolence and wanders the streets with his three droogs causing havoc and doing whatever he likes; skipping school, breaking and entering, rape, and assault is just another average day in Alex's life. However, when a planned rape turns into an "accidental" murder, things start to turn fowl for Alex. His droogs turn on him and he winds up being caught by the police. He is then taken to a correctional facility where he spends the next few years, puts on the front that he's fully embraced the bible and that he's now a changed man. But when word makes round of the experimental Ludovico treatment, Alex realizes his chance at freedom and jumps through the proper hoops to get out of the penitentiary he finds himself in and get into the experimental facility where he can be "cured."
Alex is promised that he'll be a free man within a fortnight. The treatment consists of a drug known as Serum 114 being injected into the patient before making them sit through short films such as a man being beaten to a pulp, a woman being the sexual victim of several men, and a Nazi concentration camp film set to the soundtrack of Beethoven's ninth symphony. Alex begins to feel sick during the films and the doctors insist that it's part of the cure. Alex's love for music and Beethoven in general become one of the adverse effects of the treatment as the ninth symphony has the same effect on Alex as the urge to beat or rape someone would. Alex soon comes to realize that you can never go home again and that being a free man isn't all it's cracked up to be, especially after a treatment such as this.
It took 37 years after its initial theatrical release and 24 years of being alive on this planet (the original viewing of this film was in 2008) to finally get around to seeing A Clockwork Orange. The film starts and it makes the viewer feel like they've missed something entirely that everyone else already knows about, but as the film unravels it snowballs into a unique vision of cinema. There are shades of Altered States in A Clockwork Orange, but A Clockwork Orange feels much more polarizing in its presentation in comparison. Stanley Kubrick tries to shine this spotlight of beauty onto the most heinous of actions as the film’s classical score becomes the soundtrack to ferocious and almost inhuman desires. This is Kubrick’s adaptation of the 1962 novel of the same name written by Anthony Burgess and it’s incredible how the film is able to remain captivating over a two hour period.
The film has a stunning restoration on the two-disc Blu-ray anniversary edition. Kubrick always had a brilliant eye when it came to perspective and camera placement; the majority of that could be contributed to Kubrick’s frequent collaborations with cinematographer John Alcott. The long hallway shots and close-ups on memorably haunting facial expressions are some of the most significant scenes in the film. A Clockwork Orange is loaded with vibrant colors that make every frame jump off the screen despite the film nearing half a century in age. This was the first film to take advantage of Dolby Digital surround sound, which contributes to the film sounding as good as it does.
Even with Stanley Kubrick as director, A Clockwork Orange wouldn’t be the same without Malcolm McDowell. McDowell fits the Alex DeLarge role as perfectly as Robert Downey Jr fits Tony Stark; these actors are these characters. The speeches McDowell gives in the film along with how traumatized he is after the treatment process are two of the biggest takeaways after viewing the film. This was one of McDowell’s first on-screen roles, which is surprising given how enthralling he is. You will never think of, “Singin’ in the Rain,” the same way again after viewing A Clockwork Orange.
A Clockwork Orange is a unique expedition into insanity no matter how you look at it. The dialogue is unusual and the characters are this fantastic blend of bizarre and diabolical, but the film is consistently engrossing and never seems to lag. Prior to 1986, the A Clockwork Orange novel was published in the US without its final chapter and that’s the version of the film Kubrick adapted. Anthony Burgess praised Kubrick’s version of the film despite this, which is more than what Stephen King did with Kubrick’s adaptation of The Shining. Every shot in A Clockwork Orange grabs your attention largely in part to how it’s presented or the colors that leap off the screen. The novel is written in a way that’s difficult to read and that often translates on-screen. Like most of Kubrick’s work, A Clockwork Orange is for a specific audience. It is perhaps what Malcolm McDowell is known best for and probably shouldn’t be recommended to just anyone since it would likely soar over a modern day moviegoer. This isn’t the type of film to have on in the background while you text or play games on your phone. Ultraviolence is something you have to embrace and give your undivided attention to.
This is viewed by some as one of the greatest sci-fi films ever by some, but it isn’t any less pretentious than the rest of Stanley Kubrick’s work. A Clockwork Orange is mesmerizing with a performance from Malcolm McDowell that leaves a long lasting impact, but its affinity to utilize difficult to decipher jargon, nonstop innuendo being slammed into your face, and overuse of animalistic violence shackles the film from being more appealing to a wider audience. From a personal standpoint, A Clockwork Orange is one of Kubrick's best but it's easy to understand why it wouldn't be for everyone.
Alex is promised that he'll be a free man within a fortnight. The treatment consists of a drug known as Serum 114 being injected into the patient before making them sit through short films such as a man being beaten to a pulp, a woman being the sexual victim of several men, and a Nazi concentration camp film set to the soundtrack of Beethoven's ninth symphony. Alex begins to feel sick during the films and the doctors insist that it's part of the cure. Alex's love for music and Beethoven in general become one of the adverse effects of the treatment as the ninth symphony has the same effect on Alex as the urge to beat or rape someone would. Alex soon comes to realize that you can never go home again and that being a free man isn't all it's cracked up to be, especially after a treatment such as this.
It took 37 years after its initial theatrical release and 24 years of being alive on this planet (the original viewing of this film was in 2008) to finally get around to seeing A Clockwork Orange. The film starts and it makes the viewer feel like they've missed something entirely that everyone else already knows about, but as the film unravels it snowballs into a unique vision of cinema. There are shades of Altered States in A Clockwork Orange, but A Clockwork Orange feels much more polarizing in its presentation in comparison. Stanley Kubrick tries to shine this spotlight of beauty onto the most heinous of actions as the film’s classical score becomes the soundtrack to ferocious and almost inhuman desires. This is Kubrick’s adaptation of the 1962 novel of the same name written by Anthony Burgess and it’s incredible how the film is able to remain captivating over a two hour period.
The film has a stunning restoration on the two-disc Blu-ray anniversary edition. Kubrick always had a brilliant eye when it came to perspective and camera placement; the majority of that could be contributed to Kubrick’s frequent collaborations with cinematographer John Alcott. The long hallway shots and close-ups on memorably haunting facial expressions are some of the most significant scenes in the film. A Clockwork Orange is loaded with vibrant colors that make every frame jump off the screen despite the film nearing half a century in age. This was the first film to take advantage of Dolby Digital surround sound, which contributes to the film sounding as good as it does.
Even with Stanley Kubrick as director, A Clockwork Orange wouldn’t be the same without Malcolm McDowell. McDowell fits the Alex DeLarge role as perfectly as Robert Downey Jr fits Tony Stark; these actors are these characters. The speeches McDowell gives in the film along with how traumatized he is after the treatment process are two of the biggest takeaways after viewing the film. This was one of McDowell’s first on-screen roles, which is surprising given how enthralling he is. You will never think of, “Singin’ in the Rain,” the same way again after viewing A Clockwork Orange.
A Clockwork Orange is a unique expedition into insanity no matter how you look at it. The dialogue is unusual and the characters are this fantastic blend of bizarre and diabolical, but the film is consistently engrossing and never seems to lag. Prior to 1986, the A Clockwork Orange novel was published in the US without its final chapter and that’s the version of the film Kubrick adapted. Anthony Burgess praised Kubrick’s version of the film despite this, which is more than what Stephen King did with Kubrick’s adaptation of The Shining. Every shot in A Clockwork Orange grabs your attention largely in part to how it’s presented or the colors that leap off the screen. The novel is written in a way that’s difficult to read and that often translates on-screen. Like most of Kubrick’s work, A Clockwork Orange is for a specific audience. It is perhaps what Malcolm McDowell is known best for and probably shouldn’t be recommended to just anyone since it would likely soar over a modern day moviegoer. This isn’t the type of film to have on in the background while you text or play games on your phone. Ultraviolence is something you have to embrace and give your undivided attention to.
This is viewed by some as one of the greatest sci-fi films ever by some, but it isn’t any less pretentious than the rest of Stanley Kubrick’s work. A Clockwork Orange is mesmerizing with a performance from Malcolm McDowell that leaves a long lasting impact, but its affinity to utilize difficult to decipher jargon, nonstop innuendo being slammed into your face, and overuse of animalistic violence shackles the film from being more appealing to a wider audience. From a personal standpoint, A Clockwork Orange is one of Kubrick's best but it's easy to understand why it wouldn't be for everyone.
5 Minute Movie Guy (379 KP) rated Live Die Repeat: Edge of Tomorrow (2014) in Movies
Jun 26, 2019
One of the best action films of Tom Cruise's incredible career. (4 more)
Emily Blunt is a true force to be reckoned with.
The film's aliens and special effects are simply outstanding.
Unexpectedly hilarious. Who knew watching Tom Cruise die repeatedly could be so funny?
Edge of Tomorrow feels like a video game made into an unforgettably great movie.
Edge of Tomorrow is one of the best action movies of Tom Cruise’s illustrious career and might just be the most fun you'll have at the movies all year.
Amidst the yearly barrage of unimaginative action movies, Edge of Tomorrow is a breath of fresh air. It’s smart, funny, and full of action-packed excitement. It is a definitive summer blockbuster and is one of the best action movies of Tom Cruise’s illustrious career. Based on the graphic novel All You Need is Kill by Hiroshi Sakurazaka, Edge of Tomorrow stars Tom Cruise as Major William Cage, who has earned his rank without ever having served a day in combat. All of that quickly comes to a change when he’s put on the frontlines of a war that threatens humanity’s entire existence. Thrust into combat, Cage is cowardly, and also comically unprepared. He fearfully fights for his life, but is quickly killed in the conflict, only to reawaken at the start of the same day. Cage is given another chance at life, with the benefit of having lived the day before and fully remembering it. This is not a gift bestowed upon Tom Cruise by the power of Scientology, nor by Tom Cruise’s near-invincibility in his films, but instead his character Cage inadvertently has tapped into a divine alien power through which he is able to re-spawn from death over and over again. Trapped In this seemingly infinite loop, Cage is able to learn from his mistakes and thereby has the power to single-handedly change the outcome of this war and save the human race from complete annihilation.
The brilliance of Edge of Tomorrow is in its execution. This is a movie that could have easily been tiresome considering it replays the same day continuously on repeat, but it’s handled in a way that makes it entertaining and engaging. It is superbly edited to keep the story moving and the laughs coming. Even as a huge fan of Tom Cruise, I had a marvelous time watching him die off again and again while thoroughly laughing at his expense. What makes it so funny is that Tom is completely in on the joke and is able to generously poke fun at himself. He is perfectly cast in this role, as it allows him to act totally crazy and completely spineless, while gradually transitioning into his usual kick-ass, cool Cruise persona. Edge of Tomorrow feels both exhilarating and original, although it is clearly inspired in part by some other films, such as the comedy classic Groundhog Day, and even The Matrix trilogy. However, having these influences doesn’t take away from the film’s enormous accomplishments. To call it an action sci-fi version of Groundhog Day is only to sell it short. In fact, Edge of Tomorrow might just be the most fun you’ll have at the movies all year.
The conflict in Edge of Tomorrow is an alien invasion that is obliterating humanity. The aliens, known as Mimics, have taken over most of Europe, and with the exception of one keystone battle, have easily routed human military forces. Rita Vrataski, played by Emily Blunt, led that decisive victory at Verdun, earning herself the moniker the “Angel of Verdun” after single-handedly killing hundreds of Mimics in humanity’s first and only victory against the alien species. How was one woman able to massacre these aliens that can lay waste to an armed infantry in minutes? Well, as Cage finds out, she previously had his ability to reset in death, although she no longer possesses that power. Nevertheless, with her knowledge and skill set acquired from her nearly infinite practice, she can transform Cage into Earth’s greatest weapon.
Edge of Tomorrow is a thoroughly impressive package, complete with superb special effects, a heart-pounding musical score, and outstanding performances from its lead characters. Tom Cruise carries the film with veteran expertise, making the film fun and deeply entertaining. Emily Blunt is a powerhouse as Rita, showcasing a heroic toughness with a survivor mentality. I don’t think there are many actresses in Hollywood that could play such a role as convincingly as Blunt does here. Meanwhile, Bill Paxton is as enjoyable to watch as ever. He plays Master Sergeant Farrell, who is Cage’s cocky commanding officer that takes great pleasure in giving him a hard time. As for the aliens in the movie, they look absolutely incredible, not to mention highly original. I think they’re some of the coolest aliens I’ve ever seen, and they’re also far more threatening than your typical movie alien. They’re deathly fast and unpredictable, which makes the film’s action all the more intense. Edge of Tomorrow actually feels very much like a video game, and not just because of the respawning feature. The characters are memorable, the stakes are high, and the action is so engrossing that you feel like you’re an active participant in it. The creativity and combat at work in this film are worthy of belonging in a blockbuster game series. It rarely lets up and is an adrenaline-fueled ride from beginning to end.
I’ll admit that Edge of Tomorrow far-exceeded my expectations. It’s cool in every way imaginable, from the story and the action to the aliens and characters. It will immerse you in its desolate, doomed world that unknowingly rests on the brink of total destruction. Tom Cruise and Emily Blunt are both in top form and make this a movie you won’t want to miss. Edge of Tomorrow is certain to become an instant action classic. One that I wholly look forward to watching again and again and again.
(This review was originally posted at 5mmg.com on 6.30.14.)
The brilliance of Edge of Tomorrow is in its execution. This is a movie that could have easily been tiresome considering it replays the same day continuously on repeat, but it’s handled in a way that makes it entertaining and engaging. It is superbly edited to keep the story moving and the laughs coming. Even as a huge fan of Tom Cruise, I had a marvelous time watching him die off again and again while thoroughly laughing at his expense. What makes it so funny is that Tom is completely in on the joke and is able to generously poke fun at himself. He is perfectly cast in this role, as it allows him to act totally crazy and completely spineless, while gradually transitioning into his usual kick-ass, cool Cruise persona. Edge of Tomorrow feels both exhilarating and original, although it is clearly inspired in part by some other films, such as the comedy classic Groundhog Day, and even The Matrix trilogy. However, having these influences doesn’t take away from the film’s enormous accomplishments. To call it an action sci-fi version of Groundhog Day is only to sell it short. In fact, Edge of Tomorrow might just be the most fun you’ll have at the movies all year.
The conflict in Edge of Tomorrow is an alien invasion that is obliterating humanity. The aliens, known as Mimics, have taken over most of Europe, and with the exception of one keystone battle, have easily routed human military forces. Rita Vrataski, played by Emily Blunt, led that decisive victory at Verdun, earning herself the moniker the “Angel of Verdun” after single-handedly killing hundreds of Mimics in humanity’s first and only victory against the alien species. How was one woman able to massacre these aliens that can lay waste to an armed infantry in minutes? Well, as Cage finds out, she previously had his ability to reset in death, although she no longer possesses that power. Nevertheless, with her knowledge and skill set acquired from her nearly infinite practice, she can transform Cage into Earth’s greatest weapon.
Edge of Tomorrow is a thoroughly impressive package, complete with superb special effects, a heart-pounding musical score, and outstanding performances from its lead characters. Tom Cruise carries the film with veteran expertise, making the film fun and deeply entertaining. Emily Blunt is a powerhouse as Rita, showcasing a heroic toughness with a survivor mentality. I don’t think there are many actresses in Hollywood that could play such a role as convincingly as Blunt does here. Meanwhile, Bill Paxton is as enjoyable to watch as ever. He plays Master Sergeant Farrell, who is Cage’s cocky commanding officer that takes great pleasure in giving him a hard time. As for the aliens in the movie, they look absolutely incredible, not to mention highly original. I think they’re some of the coolest aliens I’ve ever seen, and they’re also far more threatening than your typical movie alien. They’re deathly fast and unpredictable, which makes the film’s action all the more intense. Edge of Tomorrow actually feels very much like a video game, and not just because of the respawning feature. The characters are memorable, the stakes are high, and the action is so engrossing that you feel like you’re an active participant in it. The creativity and combat at work in this film are worthy of belonging in a blockbuster game series. It rarely lets up and is an adrenaline-fueled ride from beginning to end.
I’ll admit that Edge of Tomorrow far-exceeded my expectations. It’s cool in every way imaginable, from the story and the action to the aliens and characters. It will immerse you in its desolate, doomed world that unknowingly rests on the brink of total destruction. Tom Cruise and Emily Blunt are both in top form and make this a movie you won’t want to miss. Edge of Tomorrow is certain to become an instant action classic. One that I wholly look forward to watching again and again and again.
(This review was originally posted at 5mmg.com on 6.30.14.)
Emma @ The Movies (1786 KP) rated Valerian and the City of a Thousand Planets (2017) in Movies
Sep 25, 2019
The story of Valerian is a good one. We open on Mül, a idyllic place of peace and a simple life. But this peace is shattered when fire rains from the sky devastating the entire planet. The last moment of Mül sees the Princess, doomed to die in the explosion, release her energy into the universe, through time and space.
Valerian, sunning himself on his ship, is hit with a sudden vision of the cataclysm on Mül. Unsure about it's meaning he goes back to the task at hand, retrieving a relic from some disreputable people on the black market. The "converter" is the last of it's kind in the universe, it will eat anything and rapidly replicate it, and as such is a very valuable commodity.
The mission is to return the converter to Alpha station. But when they arrive they discover that the station has been infected with something right at its heart. It's spreading, and all those that enter do not come back. When events lead to Valerian being drawn into the infected area, Laureline isn't willing to give up hope, and she battles her way in. Once she's reunited with Valerian they work travel to the centre of the station and discover the shocking truth about how the infection began...
The film is based on Valerian and Laureline, a French sci-fi comic series written by Pierre Christin and illustrated by Jean-Claude Mézières. I have got the first one to read, but as is my tradition, I have yet to do so. The first one is available free on Kindle at the moment if anybody is that way inclined. I expect that it will get a much better reaction in Europe than it seem to have done in the States, which is a bit of a shame. Possibly the way to go would have been with bigger stars, but *shrugs shoulders* it's too late now.
As I said, the story itself is a good one, and while people are nit picking and saying there are plot holes... there aren't if you don't look for them. I have this horrible ability to just watch a film for what it is, if you just go and see something to have some fun you don't notice any of that. It's a horribly nice way to be able to live my life, I enjoy a lot more things that way.
What I'm about to say is going to contradict my overall feeling for the film... I didn't really enjoy Dane DeHaan or Cara Delevingne. I had originally thought that I hadn't seen DeHaan in anything before, but was soon getting recollections of The Amazing Spider-Man 2. Scrolling through Delevingne's few years of films I've only seen Suicide Squad, and her acting as a "real person" is quite a small piece in that. While I can't think of anyone who would have perfectly suited either role, I feel like many other actors could have done an equal, or better, performance.
You get a wonderful introduction to what the station is, and has become. And we're treated to the potted history of alien species, several of which would sit quite nicely in the Whoniverse. I'm quite looking forward to reading the graphic novel. I can see stories unfolding in the different sections of the station, and that works. It almost feels like it would have made an amazing TV series, because it is essentially Star Trek with glitzier aliens and ecosystems.
As far as the secondary characters go we're treated to several memorable moments. Including Ethan Hawke as Jolly the Pimp, which is as flamboyant as you'd expect. Clive Owen as Commander Filitt, stern and ruthless, the sort who would stab you in the back (or the front) for his own gain. Sam Spruell as General Okto-Bar, who acted his part incredibly well... I'm honestly surprised I've not seen any of the other things he's been in, but I will be checking them out. Rihanna as Bubble, I'm a little surprised about how much I heard about her being in this considering how short her role is. But the same is true of a few things I've seen recently. We first meet her at Jolly's den of iniquity, where the music video training definitely came in handy.
As a whole the film moves along smoothly, with only a few little bits that seemed like they didn't belong, or could have been cut out. Unlike other films though, these little additions didn't harm the overall product.
Here is where my love for the film takes a steep nose-drive. Imagine crying with joy to resting bitch-face in the space of a few seconds. The 3D was hideous. I can't even think of a nice thing to say about it.
When the scenes were general crowd shots or indoors, everything was fine... although these shots didn't really benefit from the effect. The exterior shots however, in my not so expert opinion, were a terrible idea. I found some of them actually painful to watch, particularly long range shots of Alpha with ships coming in to dock. It was near on impossible to deal with the perspective as there was so much happening. For the last half of the film I took my 3D glasses off every time these shots appeared on screen as my head was rapidly starting to hurt, and I wasn't the only one having trouble.
If it wasn't for the painful exterior shots I honestly would have forgotten I was watching the film in 3D. Unlike other 3D films, you weren't aware that things were coming out of the screen at you. Not once.
I really don't want to be so negative about this film, it was an enjoyable watch (without the optical illusion created by the 3D). I would recommend it to anyone who has a passing interest in sci-fi and adaptations of comics. And I feel like, if nothing else, it might get the graphic novels themselves more circulation outside of Europe.
But please... watch it in 2D.
Valerian, sunning himself on his ship, is hit with a sudden vision of the cataclysm on Mül. Unsure about it's meaning he goes back to the task at hand, retrieving a relic from some disreputable people on the black market. The "converter" is the last of it's kind in the universe, it will eat anything and rapidly replicate it, and as such is a very valuable commodity.
The mission is to return the converter to Alpha station. But when they arrive they discover that the station has been infected with something right at its heart. It's spreading, and all those that enter do not come back. When events lead to Valerian being drawn into the infected area, Laureline isn't willing to give up hope, and she battles her way in. Once she's reunited with Valerian they work travel to the centre of the station and discover the shocking truth about how the infection began...
The film is based on Valerian and Laureline, a French sci-fi comic series written by Pierre Christin and illustrated by Jean-Claude Mézières. I have got the first one to read, but as is my tradition, I have yet to do so. The first one is available free on Kindle at the moment if anybody is that way inclined. I expect that it will get a much better reaction in Europe than it seem to have done in the States, which is a bit of a shame. Possibly the way to go would have been with bigger stars, but *shrugs shoulders* it's too late now.
As I said, the story itself is a good one, and while people are nit picking and saying there are plot holes... there aren't if you don't look for them. I have this horrible ability to just watch a film for what it is, if you just go and see something to have some fun you don't notice any of that. It's a horribly nice way to be able to live my life, I enjoy a lot more things that way.
What I'm about to say is going to contradict my overall feeling for the film... I didn't really enjoy Dane DeHaan or Cara Delevingne. I had originally thought that I hadn't seen DeHaan in anything before, but was soon getting recollections of The Amazing Spider-Man 2. Scrolling through Delevingne's few years of films I've only seen Suicide Squad, and her acting as a "real person" is quite a small piece in that. While I can't think of anyone who would have perfectly suited either role, I feel like many other actors could have done an equal, or better, performance.
You get a wonderful introduction to what the station is, and has become. And we're treated to the potted history of alien species, several of which would sit quite nicely in the Whoniverse. I'm quite looking forward to reading the graphic novel. I can see stories unfolding in the different sections of the station, and that works. It almost feels like it would have made an amazing TV series, because it is essentially Star Trek with glitzier aliens and ecosystems.
As far as the secondary characters go we're treated to several memorable moments. Including Ethan Hawke as Jolly the Pimp, which is as flamboyant as you'd expect. Clive Owen as Commander Filitt, stern and ruthless, the sort who would stab you in the back (or the front) for his own gain. Sam Spruell as General Okto-Bar, who acted his part incredibly well... I'm honestly surprised I've not seen any of the other things he's been in, but I will be checking them out. Rihanna as Bubble, I'm a little surprised about how much I heard about her being in this considering how short her role is. But the same is true of a few things I've seen recently. We first meet her at Jolly's den of iniquity, where the music video training definitely came in handy.
As a whole the film moves along smoothly, with only a few little bits that seemed like they didn't belong, or could have been cut out. Unlike other films though, these little additions didn't harm the overall product.
Here is where my love for the film takes a steep nose-drive. Imagine crying with joy to resting bitch-face in the space of a few seconds. The 3D was hideous. I can't even think of a nice thing to say about it.
When the scenes were general crowd shots or indoors, everything was fine... although these shots didn't really benefit from the effect. The exterior shots however, in my not so expert opinion, were a terrible idea. I found some of them actually painful to watch, particularly long range shots of Alpha with ships coming in to dock. It was near on impossible to deal with the perspective as there was so much happening. For the last half of the film I took my 3D glasses off every time these shots appeared on screen as my head was rapidly starting to hurt, and I wasn't the only one having trouble.
If it wasn't for the painful exterior shots I honestly would have forgotten I was watching the film in 3D. Unlike other 3D films, you weren't aware that things were coming out of the screen at you. Not once.
I really don't want to be so negative about this film, it was an enjoyable watch (without the optical illusion created by the 3D). I would recommend it to anyone who has a passing interest in sci-fi and adaptations of comics. And I feel like, if nothing else, it might get the graphic novels themselves more circulation outside of Europe.
But please... watch it in 2D.
Chris Sawin (602 KP) rated Kingdom (2019) in Movies
Aug 12, 2019
Action sequences. (2 more)
The Mountain Tribe.
Zuo Ci.
134-minute duration feels like a marathon. (1 more)
Drags a lot in its first half.
I haven’t read any of the 55 volumes (and counting) of Yasuhisa Hara’s Kingdom manga or watched any of the 77 episodes of the anime adapted by animation studio Pierrot (Bleach, Yu Yu Hakusho, and Tokyo Ghoul among many others). To make matters worse, I haven’t seen any of the films by director and co-screenwriter Shinsuke Sato (the two live-action Gantz films, Death Note: Light Up the New World, the live-action Bleach film for Netflix). I’m going into Kingdom completely blind and I have no idea if that makes the viewing experience any better or worse.
In 255 B.C., Kingdom revolves around the quick-tempered and charge-headfirst-into-battle-without-thinking Xin (Kento Yamazaki) that dreams of being the greatest general of the Qin Kingdom. There’s other stuff going on; a bloody 500 year war between the seven states of China, Xin’s best friend Piao (Ryô Yoshizawa) being enlisted by the King only to turn around and be killed, and King Yin Zheng being a splitting image of Piao, but nothing is emphasized or screamed louder than Xin’s desire to become the greatest general China has ever known.
Kingdom feels like it’s about 45 minutes too long for its own good. The first hour seems to drag as blood spraying into the air every now and then isn’t enough to keep you fully intrigued. The manga is an exaggerated recounting of Zheng actually becoming king in 221 B.C. during the Warring States period and eventually unifying China while the characters are loosely based on actual historical figures. The action adventure film attempts to portray Xin and Piao as worthy and capable swordsman because they clunked stick swords together 10,000 times in an empty field throughout their childhood and teenage years.
The film tries to compensate for its slow first hour with a more eventful second half, but it doesn’t totally succeed. Yang Duan He (Masami Nagasawa) and her mountain tribe are pretty awesome. Their masks remind you of something straight out of Princess Mononoke and you’ll be trying your hardest not to compare Yang Duan He to Xena: Warrior Princess. There’s this competition for the throne that gets a little complicated. Zheng’s brother Cheng Jiao (Kanata Hongo) is nasty and heartless and basically a human version of Salacious Crumb sitting on an even more elaborate version of Jabba the Hutt’s dais. Zheng and Jiao have the same father, but different mothers; Jiao’s is of royal blood and Zheng’s is a dancer or, in other words, a commoner. Jiao viewed peasantry as being bone deep; it isn’t something that can ever go away.
The main theme of Kingdom sounds like a direct ripoff of the main Guardians of the Galaxy theme, which is kind of brain-numbing. The prosthetics in the film are questionable with Li Dian, the original slave owner of Xin and Piao, having this awkwardly orange colored face, inhumanly puffy cheeks, stringy facial hair, and the ugliest facial expressions imaginable. After Xin joins up with Zheng, a girl in a bushy owl costume named He Liao Diao (Kanna Hasimoto) is mostly only around to take everyone to the mountains later. The chemistry Xin, Zheng, and Diao have is reminiscent of what Mugen, Jin, and Foo have in Samurai Champloo. Another observation is that Xin is basically Goku with Vegeta’s short-fuse temper; he lives to fight and eat, he’s dumber than a bag of rocks, and he can’t identify a woman when she’s standing directly in front of him.
Cheng Jiao’s go-to henchman, former general and current hitman for hire Zuo Ci (Tak Sakaguchi) may be the film’s coolest character. He doesn’t care about anybody, tells Xin that all dreams are BS, and is a part of what is arguably the best action sequence in the film. Meanwhile, General Wang Yi (Takao Ohsawa), the most renowned general in all of China and the guy with the status Xin plans on taking in the future, is a bit overrated. He mostly just parades his weird and pointy facial hair around and swings his giant sword as if it won’t remind us of Guts from Berserk.
All in all, Kingdom is a decent action adventure that just takes a while to really get going. The performances aren’t totally satisfying with Kento Yamazaki hamming it up on more than occasion and taking the brainless dolt with a huge mouth thing to uncomfortable levels. The story isn’t exactly hard to follow, but it does feel like it’s trying to be more convoluted than it needs to be. You don’t feel any sort of attachment to any of the characters and any sort of twist can be seen long before the reveal. Kingdom is just an okay way to spend two hours that is probably a justifiable rental on a day when you have nothing better to do, but is not worth paying full price to own.
In 255 B.C., Kingdom revolves around the quick-tempered and charge-headfirst-into-battle-without-thinking Xin (Kento Yamazaki) that dreams of being the greatest general of the Qin Kingdom. There’s other stuff going on; a bloody 500 year war between the seven states of China, Xin’s best friend Piao (Ryô Yoshizawa) being enlisted by the King only to turn around and be killed, and King Yin Zheng being a splitting image of Piao, but nothing is emphasized or screamed louder than Xin’s desire to become the greatest general China has ever known.
Kingdom feels like it’s about 45 minutes too long for its own good. The first hour seems to drag as blood spraying into the air every now and then isn’t enough to keep you fully intrigued. The manga is an exaggerated recounting of Zheng actually becoming king in 221 B.C. during the Warring States period and eventually unifying China while the characters are loosely based on actual historical figures. The action adventure film attempts to portray Xin and Piao as worthy and capable swordsman because they clunked stick swords together 10,000 times in an empty field throughout their childhood and teenage years.
The film tries to compensate for its slow first hour with a more eventful second half, but it doesn’t totally succeed. Yang Duan He (Masami Nagasawa) and her mountain tribe are pretty awesome. Their masks remind you of something straight out of Princess Mononoke and you’ll be trying your hardest not to compare Yang Duan He to Xena: Warrior Princess. There’s this competition for the throne that gets a little complicated. Zheng’s brother Cheng Jiao (Kanata Hongo) is nasty and heartless and basically a human version of Salacious Crumb sitting on an even more elaborate version of Jabba the Hutt’s dais. Zheng and Jiao have the same father, but different mothers; Jiao’s is of royal blood and Zheng’s is a dancer or, in other words, a commoner. Jiao viewed peasantry as being bone deep; it isn’t something that can ever go away.
The main theme of Kingdom sounds like a direct ripoff of the main Guardians of the Galaxy theme, which is kind of brain-numbing. The prosthetics in the film are questionable with Li Dian, the original slave owner of Xin and Piao, having this awkwardly orange colored face, inhumanly puffy cheeks, stringy facial hair, and the ugliest facial expressions imaginable. After Xin joins up with Zheng, a girl in a bushy owl costume named He Liao Diao (Kanna Hasimoto) is mostly only around to take everyone to the mountains later. The chemistry Xin, Zheng, and Diao have is reminiscent of what Mugen, Jin, and Foo have in Samurai Champloo. Another observation is that Xin is basically Goku with Vegeta’s short-fuse temper; he lives to fight and eat, he’s dumber than a bag of rocks, and he can’t identify a woman when she’s standing directly in front of him.
Cheng Jiao’s go-to henchman, former general and current hitman for hire Zuo Ci (Tak Sakaguchi) may be the film’s coolest character. He doesn’t care about anybody, tells Xin that all dreams are BS, and is a part of what is arguably the best action sequence in the film. Meanwhile, General Wang Yi (Takao Ohsawa), the most renowned general in all of China and the guy with the status Xin plans on taking in the future, is a bit overrated. He mostly just parades his weird and pointy facial hair around and swings his giant sword as if it won’t remind us of Guts from Berserk.
All in all, Kingdom is a decent action adventure that just takes a while to really get going. The performances aren’t totally satisfying with Kento Yamazaki hamming it up on more than occasion and taking the brainless dolt with a huge mouth thing to uncomfortable levels. The story isn’t exactly hard to follow, but it does feel like it’s trying to be more convoluted than it needs to be. You don’t feel any sort of attachment to any of the characters and any sort of twist can be seen long before the reveal. Kingdom is just an okay way to spend two hours that is probably a justifiable rental on a day when you have nothing better to do, but is not worth paying full price to own.
Emma @ The Movies (1786 KP) rated Underwater (2020) in Movies
Mar 5, 2020
Underwater was in my top picks for February, it looked like a cross between Deep Rising, Alien and a selection of Doctor Who episodes... I was definitely in.
Down on a drilling station in the Mariana Trench the researchers and crew are thrown into chaos as an earthquake rips through the facility. Desperately trying to get to their escape pods the handful of remaining crew gather to assess their options. They're short on equipment and their best hope appears to be making it to another part of the complex, the only problem? It's 2 miles across the ocean floor... in the pitch black... without a craft. Oh, and unbeknownst to them, they're not alone.
The film does a great job of its opening, diagrams, reports and images of the station and their mission give us instant background which allows us to drop right into (what feels like) the middle of a scene. It reminds me of various monster movies with some of the recent Godzilla ones having similar montages, I like it because there's always something new to pick up when you watch the film again. The other thing the opening does is use sound in a very interesting way, the music builds and when we land in the station it instantly cuts and gives you a feeling of isolation. Sandwich that with the chaos of the earthquake soon after and it gives you a very odd and almost uncomfortable feeling.
While I was impressed by the opening I was also confused. There's a moment where you see a massive horror trope that doesn't actually go anywhere, it was like some strange red herring. It felt like a deliberate misdirect, but I have no idea what the purpose would have been for it.
My mixed feelings didn't end there, in the ensuing chaos we get a slow-motion shot of Stewart flying backwards in an explosion... it didn't fit with any of the style around it and was the last effect I expected to see.
Shortly after this I was dealt another blow when they access the last transmission from another part of the station. These are peak creature feature moments, cast get to gasp and scream in distress and it gives us a sneak peek of what's to come... what we got wasn't clear and wasn't intriguing. Underwater is a film filled with classic tropes of multiple genres and yet it doesn't seem to carry through with any of them.
As the cast get out into the water the film does start to pick up. Cutting from helmet cam footage to inside the suits with the characters starts to build some of that intrigue that's been missing. It gets a little more claustrophobic and finally feels like the films I'd been hoping for.
This whole section is filled with great moments because we're finally becoming aware of a presence with them. In some ways it reminds me of Blair Witch, it does well to hide from us what they're actually up against, it's just a shadow or a movement on the edge of the light. That really got me back on board.
But these feelings were fleeting. All the tension was broken again. I do wonder if someone went "the tension should come in waves... because... water". The constant up and down didn't work for me.
From this point on I didn't feel much for the film. It's clear from the building of the story how the film is going to end, and even the big reveal moments weren't exciting.
Kristen Stewart has been appearing in a lot of things recently and I've never been a big fan but I was looking forward to her in this off the back of the last couple of films I saw her in. The most I can say is it was fine, there weren't any moments I hated, there weren't any that wowed me. The same is true for most of the cast in fact. I enjoyed T.J. Miller's comedic role but the light-heartedness it brought also became a little frustrating as the scripting seemed unnecessarily crass at time.
I can't fault the effects, it felt right and the magnitude of what they created underwater, and how they filmed it felt solid. With a little less underwater and a little more creature though, I think they would have been on to something.
The rollercoaster ride this story went on left me exhausted. The momentum was repeatedly lost and the intrigue wasn't there to hook me in. I can tell you that I will watch it again though. I know, after I just moaned about it and everything! There's definitely something in this film and I'm still struggling as to the reasons why it didn't click more with me, it feels like this is one that might benefit from a second viewing.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/underwater-movie-review.html
Down on a drilling station in the Mariana Trench the researchers and crew are thrown into chaos as an earthquake rips through the facility. Desperately trying to get to their escape pods the handful of remaining crew gather to assess their options. They're short on equipment and their best hope appears to be making it to another part of the complex, the only problem? It's 2 miles across the ocean floor... in the pitch black... without a craft. Oh, and unbeknownst to them, they're not alone.
The film does a great job of its opening, diagrams, reports and images of the station and their mission give us instant background which allows us to drop right into (what feels like) the middle of a scene. It reminds me of various monster movies with some of the recent Godzilla ones having similar montages, I like it because there's always something new to pick up when you watch the film again. The other thing the opening does is use sound in a very interesting way, the music builds and when we land in the station it instantly cuts and gives you a feeling of isolation. Sandwich that with the chaos of the earthquake soon after and it gives you a very odd and almost uncomfortable feeling.
While I was impressed by the opening I was also confused. There's a moment where you see a massive horror trope that doesn't actually go anywhere, it was like some strange red herring. It felt like a deliberate misdirect, but I have no idea what the purpose would have been for it.
My mixed feelings didn't end there, in the ensuing chaos we get a slow-motion shot of Stewart flying backwards in an explosion... it didn't fit with any of the style around it and was the last effect I expected to see.
Shortly after this I was dealt another blow when they access the last transmission from another part of the station. These are peak creature feature moments, cast get to gasp and scream in distress and it gives us a sneak peek of what's to come... what we got wasn't clear and wasn't intriguing. Underwater is a film filled with classic tropes of multiple genres and yet it doesn't seem to carry through with any of them.
As the cast get out into the water the film does start to pick up. Cutting from helmet cam footage to inside the suits with the characters starts to build some of that intrigue that's been missing. It gets a little more claustrophobic and finally feels like the films I'd been hoping for.
This whole section is filled with great moments because we're finally becoming aware of a presence with them. In some ways it reminds me of Blair Witch, it does well to hide from us what they're actually up against, it's just a shadow or a movement on the edge of the light. That really got me back on board.
But these feelings were fleeting. All the tension was broken again. I do wonder if someone went "the tension should come in waves... because... water". The constant up and down didn't work for me.
From this point on I didn't feel much for the film. It's clear from the building of the story how the film is going to end, and even the big reveal moments weren't exciting.
Kristen Stewart has been appearing in a lot of things recently and I've never been a big fan but I was looking forward to her in this off the back of the last couple of films I saw her in. The most I can say is it was fine, there weren't any moments I hated, there weren't any that wowed me. The same is true for most of the cast in fact. I enjoyed T.J. Miller's comedic role but the light-heartedness it brought also became a little frustrating as the scripting seemed unnecessarily crass at time.
I can't fault the effects, it felt right and the magnitude of what they created underwater, and how they filmed it felt solid. With a little less underwater and a little more creature though, I think they would have been on to something.
The rollercoaster ride this story went on left me exhausted. The momentum was repeatedly lost and the intrigue wasn't there to hook me in. I can tell you that I will watch it again though. I know, after I just moaned about it and everything! There's definitely something in this film and I'm still struggling as to the reasons why it didn't click more with me, it feels like this is one that might benefit from a second viewing.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/underwater-movie-review.html
Heather Cranmer (2721 KP) rated Drop Dead Gorgeous (Return to Fear Street #3) in Books
Feb 15, 2019
Great pacing (1 more)
Interesting plot
Cheesy Characters (1 more)
Not enough backstory
Cheesy but an Alright Read
I grew up reading R.L. Stine books especially his Fear Street series. When I heard there was going to be a new Fear Street series, I knew I had to read it. I loved the first book in the series, You May Now Kill the Bride. I was not impressed with the second book in the series, The Wrong Girl. I thought the latest book in the series, Drop Dead Gorgeous, was just an alright read.
The plot for Drop Dead Gorgeous was fairly interesting. Morgan Marks is the new girl at Linden High. No one knows where she came from, and her answers to everything are vague. She has a magnetic pull over all of the males in and around Linden. When I found out that Morgan was a vampire (not a spoiler, don't worry), I rolled my eyes and thought I wouldn't like this book. I'm not a big fan of vampire books (or films) since they've over-saturated the market. However, Drop Dead Gorgeous turned out to be alright. Anyway, someone is killing off the residents of Linden and draining their blood. Is it Morgan or could be be someone else? The world building was written to be believable enough even if some of the characters weren't believable. There were a few plot twists. A couple of them I didn't see coming, but I did predict a major plot twist.
All of the males in Drop Dead Gorgeous were beyond annoying and immature. All they could talk about were hot girls it seemed. They were really one dimensional, and I found myself not caring about Liam, Winks, and Zane. They would all brag how great they were, especially Winks. I'm sure there are some people like this, but I felt like it was a bit over the top having all three males in the book being so vapid and conceited. The females in Drop Dead Gorgeous had a little more depth to them thankfully. I still didn't care much about Delia, Amber, or Julie because there was no back story, so it was hard to connect to them. Out of the three girls, Delia seemed to feel the most real. Morgan was a good character. I enjoyed her backstory even if it was short, but hey, at least she had some backstory. The dialogue between the characters was extremely corny in some places, and I know I haven't been a teenager in many years, but I've never heard any teenage conversations like the ones in Drop Dead Gorgeous.
I will say that the pacing was done fairly well for Drop Dead Gorgeous. The first few chapters are a bit slow, but the pacing definitely picks up not much longer after that. I found myself immersed in what was happening in Linden.
Trigger warnings for Drop Dead Gorgeous include violence, death, murder, some gore, older man and underage girl kissing, and underage drinking.
Overall, Drop Dead Gorgeous was just an alright read. It wasn't great, but it wasn't a bad read either. If you can look past the overly cheesy characters, this is a good read. I would definitely recommend Drop Dead Gorgeous by R.L. Stine to those aged 15+.
The plot for Drop Dead Gorgeous was fairly interesting. Morgan Marks is the new girl at Linden High. No one knows where she came from, and her answers to everything are vague. She has a magnetic pull over all of the males in and around Linden. When I found out that Morgan was a vampire (not a spoiler, don't worry), I rolled my eyes and thought I wouldn't like this book. I'm not a big fan of vampire books (or films) since they've over-saturated the market. However, Drop Dead Gorgeous turned out to be alright. Anyway, someone is killing off the residents of Linden and draining their blood. Is it Morgan or could be be someone else? The world building was written to be believable enough even if some of the characters weren't believable. There were a few plot twists. A couple of them I didn't see coming, but I did predict a major plot twist.
All of the males in Drop Dead Gorgeous were beyond annoying and immature. All they could talk about were hot girls it seemed. They were really one dimensional, and I found myself not caring about Liam, Winks, and Zane. They would all brag how great they were, especially Winks. I'm sure there are some people like this, but I felt like it was a bit over the top having all three males in the book being so vapid and conceited. The females in Drop Dead Gorgeous had a little more depth to them thankfully. I still didn't care much about Delia, Amber, or Julie because there was no back story, so it was hard to connect to them. Out of the three girls, Delia seemed to feel the most real. Morgan was a good character. I enjoyed her backstory even if it was short, but hey, at least she had some backstory. The dialogue between the characters was extremely corny in some places, and I know I haven't been a teenager in many years, but I've never heard any teenage conversations like the ones in Drop Dead Gorgeous.
I will say that the pacing was done fairly well for Drop Dead Gorgeous. The first few chapters are a bit slow, but the pacing definitely picks up not much longer after that. I found myself immersed in what was happening in Linden.
Trigger warnings for Drop Dead Gorgeous include violence, death, murder, some gore, older man and underage girl kissing, and underage drinking.
Overall, Drop Dead Gorgeous was just an alright read. It wasn't great, but it wasn't a bad read either. If you can look past the overly cheesy characters, this is a good read. I would definitely recommend Drop Dead Gorgeous by R.L. Stine to those aged 15+.
Phillip McSween (751 KP) rated Long Shot (2019) in Movies
Apr 29, 2019
Very Fun RomCom
When a fired journalist finds himself writing speeches for the Secretary of State, he also finds himself in over his head when he quickly falls for her. Anyone that’s read even a tenth of my reviews know how much I love genre films that try and bend said genre and do things differently, albeit slightly. It’s for that reason that I fell in love with Long Shot. I’d be surprised if you didn’t as well.
Acting: 10
Beginning: 10
Characters: 10
In Long Shot, Seth Rogen plays the role of Fred Flarsky, a journalist committed to reporting on the right things, or at least his version of what’s right, anyway. He’s daft, but not stupid. Timid for the most part, but knows how to seize an opportunity when necessary. Charlize Theron is Charlotte Field the Secretary of State, a strong woman who stands up for herself, but also knows the necessity of “playing the game” sometimes. Charlotte and Fred work so well together because they are polar opposites, but also share some strange interests. I can’t lie, I’m a sucker for most roles Rogen plays. If Chris Hemsworth is a reminder that we need to hit the gym, Rogen is a reminder that your plain old average self will do just fine, thank you very much. He is the Every Man of everymen. You want Fred to succeed not just because he’s an underdog, but also because he’s cool as hell.
Charlotte is dope too, but in a different way. I love that she takes no crap, but also has a soft spot and a willingness to give others a chance. It wasn’t hard for either of these characters to win me over.
Cinematography/Visuals: 10
Conflict: 2
The movie falters a bit here, at least in my opinion. I’m sure there may be others that feel differently, but I didn’t really feel much strong opposition over the course of the movie. I would elaborate, but will stop short here as I don’t want to give away too much of what too expect.
Genre: 9
As I kept thinking of what I would score this film on the drive home, I found new reasons to love the movie. When I look at a number of other movies in the genre, it definitely stacks up. it’s one of those movies you can watch regularly and not get bored.
Memorability: 9
Pace: 9
Director Jonathan Levine moves the story along at a smooth pace that is pretty consistent save for one or two “meh” spots along the way. It’s funny throughout and continues to make you laugh right as you start to get the sense things will die down. Fred is a bit of a wild card as well as you look forward to seeing what crazy crap he will get into next.
Plot: 4
Resolution: 10
Great ending with a bit of a twist that really brought the funny. After watching this journey, I couldn’t have been more satisfied with how things ended up. Predictable yet perfect at the same time.
Overall: 83
I have no doubt you will have a fun time seeing Long Shot. Even if you feel like you’ve been down the road before or you know what’s waiting at the end of the road, see it anyway. There is a certain amount of originality here that makes the movie well worth the ride.
Acting: 10
Beginning: 10
Characters: 10
In Long Shot, Seth Rogen plays the role of Fred Flarsky, a journalist committed to reporting on the right things, or at least his version of what’s right, anyway. He’s daft, but not stupid. Timid for the most part, but knows how to seize an opportunity when necessary. Charlize Theron is Charlotte Field the Secretary of State, a strong woman who stands up for herself, but also knows the necessity of “playing the game” sometimes. Charlotte and Fred work so well together because they are polar opposites, but also share some strange interests. I can’t lie, I’m a sucker for most roles Rogen plays. If Chris Hemsworth is a reminder that we need to hit the gym, Rogen is a reminder that your plain old average self will do just fine, thank you very much. He is the Every Man of everymen. You want Fred to succeed not just because he’s an underdog, but also because he’s cool as hell.
Charlotte is dope too, but in a different way. I love that she takes no crap, but also has a soft spot and a willingness to give others a chance. It wasn’t hard for either of these characters to win me over.
Cinematography/Visuals: 10
Conflict: 2
The movie falters a bit here, at least in my opinion. I’m sure there may be others that feel differently, but I didn’t really feel much strong opposition over the course of the movie. I would elaborate, but will stop short here as I don’t want to give away too much of what too expect.
Genre: 9
As I kept thinking of what I would score this film on the drive home, I found new reasons to love the movie. When I look at a number of other movies in the genre, it definitely stacks up. it’s one of those movies you can watch regularly and not get bored.
Memorability: 9
Pace: 9
Director Jonathan Levine moves the story along at a smooth pace that is pretty consistent save for one or two “meh” spots along the way. It’s funny throughout and continues to make you laugh right as you start to get the sense things will die down. Fred is a bit of a wild card as well as you look forward to seeing what crazy crap he will get into next.
Plot: 4
Resolution: 10
Great ending with a bit of a twist that really brought the funny. After watching this journey, I couldn’t have been more satisfied with how things ended up. Predictable yet perfect at the same time.
Overall: 83
I have no doubt you will have a fun time seeing Long Shot. Even if you feel like you’ve been down the road before or you know what’s waiting at the end of the road, see it anyway. There is a certain amount of originality here that makes the movie well worth the ride.