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Chris Sawin (602 KP) rated Good Boys (2019) in Movies
Aug 14, 2019
Repetitive. (1 more)
Too similar to other R-rated teen comedies.
Thor Casts Anal Bead Nunchucks
“Bean Bag Boys for life!” In Good Boys, that’s the motto for three 12-year-old best friends that are finding the sixth grade way more profound and coercing than the fifth grade or any other grade before it ever was. Max (Jacob Tremblay) is at the age where girls aren’t so gross and are actually quite arousing, Thor (Brady Noon) is giving up on who he is and what he loves in a bold attempt to try to fit in with kids who he thinks are cool, and Lucas (Keith L. Williams) mostly just loves Magic: The Gathering, treating women with respect, and being honest.
Two weeks into sixth grade and the boys find themselves invited to their first party, but the catch is that it’s a kissing party and none of them know how to kiss. They use Max’s dad’s drone to spy on high school girls Hannah (Molly Gordon) and Lily (Midori Francis), but the girls end up capturing the drone and holding it for ransom. After a face-to-face meeting goes south, Thor steals Hannah’s purse which includes two capsules of Molly/ecstasy in a kid’s chewy vitamins bottle. Now in possession of illegal drugs after skipping school and using Max’s dad’s drone without permission while he’s out of town, the boys need to figure out a way to get the drone back home without his dad knowing so Max won’t get grounded all so they can still attend the kissing party and become legends of the sixth grade.
Good Boys is co-written and co-directed (only Stupnitsky received credit) by Gene Stupnitsky and Lee Eisenberg (writers of Year One and Bad Teacher). The film is produced by Seth Green’s Point Grey Pictures and Good Universe (both Neighbors films, The Disaster Artist, Long Shot). This is all worth mentioning to get an idea of what you’re diving into if you plan on seeing this film. The R-rated comedy attempts to capture what Superbad did for teenagers over a decade ago, but replaces the teenage element with tweens. Whether they’re successful or not is entirely up to you.
There are some decent laugh-out-loud moments in Good Boys, but their long-lasting effect is short-lived because Stupnitsky and Eisenberg decided to repeat those laugh out loud moments over and over again to the point of annoyance. The main laughs of the film come from the boys trying to talk about adult things they don’t fully understand (cum pronounced as koom, a sex doll being a CPR dummy, a nymphomaniac is someone who likes to have sex at sea and on land, etc), thinking sex toys are weapons, and still not being able to get past the child proof lid on a vitamin bottle. These are all funny at first, but all the gags in the film fall under the same handful of categories and essentially feel like Stupnitsky and Eisenberg didn’t have enough creativity in the script writing process to think outside a smattering of raunch.
The typo’d “porb” sequence where the boys attempt to look up how to kiss on the internet, the crossing the busy highway on the way to the mall sequence, and Lucas being so adamant about a woman’s consent are more humorous elements because they’re not as overplayed into the ground; even the opening where Max is on the verge of masturbation seems like a cheap knock off of what Not Another Teen Movie did in its opening sequence nearly 20 years ago. In comparison, Olivia Wilde’s Booksmart from earlier this year was labeled as a female version of Superbad. The Superbad influence is there, but Booksmart adds a refreshing female perspective and explores what the future means for the main characters to a more satisfying extent.
Growing up and what that means to a 12-year-old is explored in Good Boys, but it seems awkward. You’re on the verge of becoming a teenager, which shouldn’t mean all that much for you other than attending a new school. Lucas’ parents are in the middle of a divorce and Thor is trying to be something he isn’t just for his reputation. The characters learn something over the course of the film because of this, but the entire maturing angle doesn’t feel right. Part of it is meant to be ridiculous, especially after Lucas says something like, “I’ve grown up a lot in the past two hours,” and it’s cool that the film goes out of its way to tell the audience to never be ashamed of what you love, but it all feels sloppy and thrown together at the last minute.
This is the first R-rated film to ever have a rating that includes, “all involving tweens,” and this could be seen as the Superbad of this generation, but Good Boys simply doesn’t differentiate itself from the high school and college R-rated comedies that came before it to be memorable or enjoyable. It will likely be a crowd pleaser anyway since the theater I was in was full of laughs from the general public, but its charm is ruined so early on and that’s a painful thing to say when your film is only 90 minutes long. Good Boys may be outrageous and funny at times, but its generic formula destroys what little entertainment value it potentially had.
Two weeks into sixth grade and the boys find themselves invited to their first party, but the catch is that it’s a kissing party and none of them know how to kiss. They use Max’s dad’s drone to spy on high school girls Hannah (Molly Gordon) and Lily (Midori Francis), but the girls end up capturing the drone and holding it for ransom. After a face-to-face meeting goes south, Thor steals Hannah’s purse which includes two capsules of Molly/ecstasy in a kid’s chewy vitamins bottle. Now in possession of illegal drugs after skipping school and using Max’s dad’s drone without permission while he’s out of town, the boys need to figure out a way to get the drone back home without his dad knowing so Max won’t get grounded all so they can still attend the kissing party and become legends of the sixth grade.
Good Boys is co-written and co-directed (only Stupnitsky received credit) by Gene Stupnitsky and Lee Eisenberg (writers of Year One and Bad Teacher). The film is produced by Seth Green’s Point Grey Pictures and Good Universe (both Neighbors films, The Disaster Artist, Long Shot). This is all worth mentioning to get an idea of what you’re diving into if you plan on seeing this film. The R-rated comedy attempts to capture what Superbad did for teenagers over a decade ago, but replaces the teenage element with tweens. Whether they’re successful or not is entirely up to you.
There are some decent laugh-out-loud moments in Good Boys, but their long-lasting effect is short-lived because Stupnitsky and Eisenberg decided to repeat those laugh out loud moments over and over again to the point of annoyance. The main laughs of the film come from the boys trying to talk about adult things they don’t fully understand (cum pronounced as koom, a sex doll being a CPR dummy, a nymphomaniac is someone who likes to have sex at sea and on land, etc), thinking sex toys are weapons, and still not being able to get past the child proof lid on a vitamin bottle. These are all funny at first, but all the gags in the film fall under the same handful of categories and essentially feel like Stupnitsky and Eisenberg didn’t have enough creativity in the script writing process to think outside a smattering of raunch.
The typo’d “porb” sequence where the boys attempt to look up how to kiss on the internet, the crossing the busy highway on the way to the mall sequence, and Lucas being so adamant about a woman’s consent are more humorous elements because they’re not as overplayed into the ground; even the opening where Max is on the verge of masturbation seems like a cheap knock off of what Not Another Teen Movie did in its opening sequence nearly 20 years ago. In comparison, Olivia Wilde’s Booksmart from earlier this year was labeled as a female version of Superbad. The Superbad influence is there, but Booksmart adds a refreshing female perspective and explores what the future means for the main characters to a more satisfying extent.
Growing up and what that means to a 12-year-old is explored in Good Boys, but it seems awkward. You’re on the verge of becoming a teenager, which shouldn’t mean all that much for you other than attending a new school. Lucas’ parents are in the middle of a divorce and Thor is trying to be something he isn’t just for his reputation. The characters learn something over the course of the film because of this, but the entire maturing angle doesn’t feel right. Part of it is meant to be ridiculous, especially after Lucas says something like, “I’ve grown up a lot in the past two hours,” and it’s cool that the film goes out of its way to tell the audience to never be ashamed of what you love, but it all feels sloppy and thrown together at the last minute.
This is the first R-rated film to ever have a rating that includes, “all involving tweens,” and this could be seen as the Superbad of this generation, but Good Boys simply doesn’t differentiate itself from the high school and college R-rated comedies that came before it to be memorable or enjoyable. It will likely be a crowd pleaser anyway since the theater I was in was full of laughs from the general public, but its charm is ruined so early on and that’s a painful thing to say when your film is only 90 minutes long. Good Boys may be outrageous and funny at times, but its generic formula destroys what little entertainment value it potentially had.
Gareth von Kallenbach (971 KP) rated 21 Jump Street (2012) in Movies
Aug 7, 2019
Back in 1987, the fledgling Fox Network debuted, offering entertainment on Saturday and Sunday evenings aimed at a younger audience. One of the network’s first breakout shows was a police drama with young cops and plenty of action, a show named 21 Jump Street. The show featured a cast of largely unknowns who quickly bolted to overnight notoriety, most notably its star Johnny Depp who, much to his chagrin, became a pinup boy and sex symbol for the show.
The show mixed humor, action, and romance. It followed a team of young officers who were part of a special undercover unit that infiltrated high schools and colleges where they posed as students to solve various campus crimes. Johnny Depp left the show after the fourth season, wanting to be taken seriously as a legitimate actor. The show soon ended one year later. Despite having run only five seasons and having a short-lived spinoff series for star Richard Grieco, “21 Jump Street” remained a pop-culture hit 25 years later.
As such, I had a lot of skepticism when I first heard that Jonah Hill and Channing Tatum would be bringing an updated, raunchier version to the big screen that was heavy on laughs and would definitely aim for an R-rated. This theatrical version stars Hill as Officer Schmidt and Tatum as Officer Jenko, two young officers who met while in high school and, despite being on opposite ends of the social spectrum, bonded and became close friends during their time at the police academy years after graduation. When the duo find their lives as bike cops not as exciting as they had hoped and after they bungle their first chance at a significant arrest, the duo find themselves reassigned to the revived Jump Street project.
Schmidt, in spite of his misgivings, decides to face his fear of the horror that was high school decides to give it another chance. Jenko is soon horrified to see that the social structure that he dominated back in his day has clearly turned upside down. Jocks are no longer the big men on campus, replaced by sensitive New Age types. Nerds that he preyed upon are now the cool kids in school.
After the death of a student who took a new designer drug he bought at school, Schmidt and Jenko are assigned to find the dealers, infiltrate the gang and get to the bottom of the drug distribution ring and stop it at all costs. This proves to be easier said than done, especially for Schmidt. He begins to really relish his new found popularity in school and he starts to live the high school experience that he only dreamed about back in his day. Further complicating matters is Molly (Brie Larson), an attractive high school senior who quickly catches Schmidt’s attention and becomes a focal point of his day-to-day activities.
Jenko, on the other hand, finds himself struggling as the former high school kingpin now finds himself a social outcast, spending much of his time with the chemistry nerds trying to find a way to work the social structure to get to the bottom of the school’s drug trade.
Now what would be a simple assignment for two seasoned cops becomes completely unhinged for the to raw recruits who become more obsessed with social status than their mission and take extreme measures to ingratiate themselves with their new classmates. This all comes at a cost as their bond becomes strained due to Schmidt’s rapidly ascending social status and their continued inability to crack the case.
Now this is a premise that has been done countless times in numerous cop films. “21 Jump Street” has a bold and fresh formula that deftly mixes elements of the gross-out teen comedy with an action-adventure film. While the film drags a bit in the middle, there are some incredibly funny jokes throughout the film. The action in the film is solid and fits well with the story rather than trying to spice things up with random explosions.
I loved how the film, based on a story co-written by Jonah Hill, and produced by both Hill and Tatum, took a fresh approach to the subject matter but also respectfully made fun of the source material, banking on nostalgia while updating it for a younger audience.
I can easily say this was probably Jonah Hill’s best comedy to date as they were numerous laugh out loud moments in the film and he and Tatum make a fantastic duo, playing extremely well off one another. There are also several cameos in the film and strong supporting work from Ice Cube, who plays the extremely agitated captain of the inept cops placed under his command. The film sets up very well for a sequel and I understand that there’s already preparation underway should this one do well at the box office.
“21 Jump Street” is easily the funniest movie I’ve seen this year. I have not laughed this much, for all the right reasons, in quite a long time. Hip and fresh again, there’s plenty of bounce left in “21 Jump Street.”
The show mixed humor, action, and romance. It followed a team of young officers who were part of a special undercover unit that infiltrated high schools and colleges where they posed as students to solve various campus crimes. Johnny Depp left the show after the fourth season, wanting to be taken seriously as a legitimate actor. The show soon ended one year later. Despite having run only five seasons and having a short-lived spinoff series for star Richard Grieco, “21 Jump Street” remained a pop-culture hit 25 years later.
As such, I had a lot of skepticism when I first heard that Jonah Hill and Channing Tatum would be bringing an updated, raunchier version to the big screen that was heavy on laughs and would definitely aim for an R-rated. This theatrical version stars Hill as Officer Schmidt and Tatum as Officer Jenko, two young officers who met while in high school and, despite being on opposite ends of the social spectrum, bonded and became close friends during their time at the police academy years after graduation. When the duo find their lives as bike cops not as exciting as they had hoped and after they bungle their first chance at a significant arrest, the duo find themselves reassigned to the revived Jump Street project.
Schmidt, in spite of his misgivings, decides to face his fear of the horror that was high school decides to give it another chance. Jenko is soon horrified to see that the social structure that he dominated back in his day has clearly turned upside down. Jocks are no longer the big men on campus, replaced by sensitive New Age types. Nerds that he preyed upon are now the cool kids in school.
After the death of a student who took a new designer drug he bought at school, Schmidt and Jenko are assigned to find the dealers, infiltrate the gang and get to the bottom of the drug distribution ring and stop it at all costs. This proves to be easier said than done, especially for Schmidt. He begins to really relish his new found popularity in school and he starts to live the high school experience that he only dreamed about back in his day. Further complicating matters is Molly (Brie Larson), an attractive high school senior who quickly catches Schmidt’s attention and becomes a focal point of his day-to-day activities.
Jenko, on the other hand, finds himself struggling as the former high school kingpin now finds himself a social outcast, spending much of his time with the chemistry nerds trying to find a way to work the social structure to get to the bottom of the school’s drug trade.
Now what would be a simple assignment for two seasoned cops becomes completely unhinged for the to raw recruits who become more obsessed with social status than their mission and take extreme measures to ingratiate themselves with their new classmates. This all comes at a cost as their bond becomes strained due to Schmidt’s rapidly ascending social status and their continued inability to crack the case.
Now this is a premise that has been done countless times in numerous cop films. “21 Jump Street” has a bold and fresh formula that deftly mixes elements of the gross-out teen comedy with an action-adventure film. While the film drags a bit in the middle, there are some incredibly funny jokes throughout the film. The action in the film is solid and fits well with the story rather than trying to spice things up with random explosions.
I loved how the film, based on a story co-written by Jonah Hill, and produced by both Hill and Tatum, took a fresh approach to the subject matter but also respectfully made fun of the source material, banking on nostalgia while updating it for a younger audience.
I can easily say this was probably Jonah Hill’s best comedy to date as they were numerous laugh out loud moments in the film and he and Tatum make a fantastic duo, playing extremely well off one another. There are also several cameos in the film and strong supporting work from Ice Cube, who plays the extremely agitated captain of the inept cops placed under his command. The film sets up very well for a sequel and I understand that there’s already preparation underway should this one do well at the box office.
“21 Jump Street” is easily the funniest movie I’ve seen this year. I have not laughed this much, for all the right reasons, in quite a long time. Hip and fresh again, there’s plenty of bounce left in “21 Jump Street.”
Kirk Bage (1775 KP) rated Toy Story 4 (2019) in Movies
Feb 11, 2021
The rule of threes is a pretty solid philosophy. We find things repeated in triplicate satisfying and complete. There is no rule of four, it isn’t a thing. Four is usually one too many… and this was the fear for all Pixar and Toy Story fans when this project was announced, fairly unexpectedly, in 2018. Toy Story 3 was a beautiful and heart-rending end to the saga of Woody, Buzz and co. It was an end. Wasn’t it? Everything worth saying had been said, and it was all tied up in a plastic bow rather perfectly.
Well, Pixar are innovators and pioneers of the highest order, so maybe we should just trust that they know what they are doing (apart from the Cars series). Please don’t ruin it all, is all we asked, with fingers crossed. So many franchises and beloved event movies have had their legacy shat on by one too many sequels. Die Hard, Alien, Star Wars, The Terminator, etc, etc. Isn’t it best to leave well alone and concentrate on new ideas and new directions?
All the usual voice actors, Mr Hanks and Mr Allen, were back on board, with some intriguing additions in guest stars such as Christina Hendricks and Keanu Reeves, as Gabby Gabby and Duke Caboom, respectively. There was also a new director in Josh Cooley, who had been part of the team since story boarding The Incredibles in 2003, and graduating to writer and actor on Inside Out. It’s good to know Pixar look after their own with these kind of opportunities, but was this the right film and series to be making a debut in? A lot of pressure, you would think.
So, firstly, by now we know the entire world breathed a sigh of relief that it wasn’t terrible. Not only wasn’t it terrible, but it was a heck of a lot of fun! I mean, a lot! It went on to win the Oscar for best animated film, and everyone that went on to watch it after its cinema release unanimously says: “Hey, this is much better than I thought… maybe even my second favourite out of the four”. And it is true! It’s not just good enough, it is great. I loved it.
I tend to save my animation for Sundays. I don’t know why, but that feels like the best day to indulge my inner child and sense of sentimental wonder. From minute one I was into this film. As soon as you see and hear your old friends in the toy box, it doesn’t take long to feel at home in this world of talking, walking, feeling, fearing, loving characters. They are so well drawn, in all senses, it is hard to think of animated entities so adored and part of the family. I laughed, I cried, I felt excited and worried and tense and ultimately warmed up with joy. It has it all.
Not to say it merely repeats the best tricks of the first three, it doesn’t. In fact, there are a lot of differences here. It feels a little more mature, like we have all grown up together and have no need to be patronised or expositioned at. It assumes we know these people (yes, I think of them as people, that is why it works) and can leap into their lives at any point. Woody, who is of course the beating heart of the show, has been a friend, a paramour and brother before, but now he is a father figure too, an evolution that reflects life. And these guys know how effective that is going to be.
There is a slight concern regarding his adopted ward, the controversial “Forky”, who seemed a little childish and simplistic in theory… but that becomes a wonderful part of the whole point… no spoilers. I’d understand if the character grated a tiny touch at first; it kinda did with me. But the laughs are there eventually, and some of them are big laughs! Fear not, it works. Not perfect, but it works. Although why it isn’t called “Sporky” I do not know… it is clearly a spork and not a fork. Oh, yes, I know why, it is because that is what Bonnie calls him, and she is a child. Genius. I was wrong.
The plot, such as it is, is an adventure story worthy of Indiana Jones at points, and it moves along at an exciting clip for sure! Gabby Gabby is gloriously sinister, as are her ventriloquist dummy henchmen; Duke Caboom is hilarious and has probably the best light relief moments; but there is also the duo of “Ducky” and “Bunny” to enjoy on a more surreal and perhaps more adult level. Even when you see where it is going, it has the ability to surprise you, which is terrific film-making art in any animation, or anything full stop. Not least, the final 10 minutes, which break the heart in the best way, just as all the previous films have done. The thought of where they leave it brings a lump to my throat even now!
In short. If you haven’t seen it: do. If you have, watch it again as part of a Toy Story marathon and see exactly how different it is from start to finish, and just how many themes and ideas it has covered in its 25 year existence. Bravo Pixar, you did it again!
Well, Pixar are innovators and pioneers of the highest order, so maybe we should just trust that they know what they are doing (apart from the Cars series). Please don’t ruin it all, is all we asked, with fingers crossed. So many franchises and beloved event movies have had their legacy shat on by one too many sequels. Die Hard, Alien, Star Wars, The Terminator, etc, etc. Isn’t it best to leave well alone and concentrate on new ideas and new directions?
All the usual voice actors, Mr Hanks and Mr Allen, were back on board, with some intriguing additions in guest stars such as Christina Hendricks and Keanu Reeves, as Gabby Gabby and Duke Caboom, respectively. There was also a new director in Josh Cooley, who had been part of the team since story boarding The Incredibles in 2003, and graduating to writer and actor on Inside Out. It’s good to know Pixar look after their own with these kind of opportunities, but was this the right film and series to be making a debut in? A lot of pressure, you would think.
So, firstly, by now we know the entire world breathed a sigh of relief that it wasn’t terrible. Not only wasn’t it terrible, but it was a heck of a lot of fun! I mean, a lot! It went on to win the Oscar for best animated film, and everyone that went on to watch it after its cinema release unanimously says: “Hey, this is much better than I thought… maybe even my second favourite out of the four”. And it is true! It’s not just good enough, it is great. I loved it.
I tend to save my animation for Sundays. I don’t know why, but that feels like the best day to indulge my inner child and sense of sentimental wonder. From minute one I was into this film. As soon as you see and hear your old friends in the toy box, it doesn’t take long to feel at home in this world of talking, walking, feeling, fearing, loving characters. They are so well drawn, in all senses, it is hard to think of animated entities so adored and part of the family. I laughed, I cried, I felt excited and worried and tense and ultimately warmed up with joy. It has it all.
Not to say it merely repeats the best tricks of the first three, it doesn’t. In fact, there are a lot of differences here. It feels a little more mature, like we have all grown up together and have no need to be patronised or expositioned at. It assumes we know these people (yes, I think of them as people, that is why it works) and can leap into their lives at any point. Woody, who is of course the beating heart of the show, has been a friend, a paramour and brother before, but now he is a father figure too, an evolution that reflects life. And these guys know how effective that is going to be.
There is a slight concern regarding his adopted ward, the controversial “Forky”, who seemed a little childish and simplistic in theory… but that becomes a wonderful part of the whole point… no spoilers. I’d understand if the character grated a tiny touch at first; it kinda did with me. But the laughs are there eventually, and some of them are big laughs! Fear not, it works. Not perfect, but it works. Although why it isn’t called “Sporky” I do not know… it is clearly a spork and not a fork. Oh, yes, I know why, it is because that is what Bonnie calls him, and she is a child. Genius. I was wrong.
The plot, such as it is, is an adventure story worthy of Indiana Jones at points, and it moves along at an exciting clip for sure! Gabby Gabby is gloriously sinister, as are her ventriloquist dummy henchmen; Duke Caboom is hilarious and has probably the best light relief moments; but there is also the duo of “Ducky” and “Bunny” to enjoy on a more surreal and perhaps more adult level. Even when you see where it is going, it has the ability to surprise you, which is terrific film-making art in any animation, or anything full stop. Not least, the final 10 minutes, which break the heart in the best way, just as all the previous films have done. The thought of where they leave it brings a lump to my throat even now!
In short. If you haven’t seen it: do. If you have, watch it again as part of a Toy Story marathon and see exactly how different it is from start to finish, and just how many themes and ideas it has covered in its 25 year existence. Bravo Pixar, you did it again!
Kirk Bage (1775 KP) rated BlacKkKlansman (2018) in Movies
Jan 22, 2021
I have had my issues with Spike Lee as a filmmaker over the years. It always seemed like his next film was the most “important” one, and that he didn’t make a film if it didn’t have something to say about race and the oppression of African Americans. Which in itself is not a problem, as long as that point isn’t laboured to the detriment of all other aspects of the film. My problem wasn’t the message, it was that a lot of the films were dull or just not that great.
I like Malcolm X to a point, but it is overlong and uneven. I think Do the Right Thing is a fine example of indie bravura, but also has faults. Of the rest, I really only rate 25th Hour and Inside Man, both of which are entertaining movies that move tentatively away from full on politics and therefore avoid the trap of being bombastic. In short, I’ve always wanted to like him as a director a lot more than I do.
The thing that drew me to BlacKkKlansman more than Lee, or the yet little known John David Washington, was the 100% dependable Adam Driver. I have yet to see a performance of his I didn’t like, and I’d heard that he was the standout of this film too, so it went on my list of must sees. And, yes, he is excellent, of course he is – there’s something about how easy and relaxed he can be within a character that is very rare. I’d suggest he is one of the very best male actors of that age group working today.
Now, obviously, it is entirely intentional that the two leads and eventual partners in the film are black and white… but the idea that this is a problem, or a thing at all, is not addressed as the only issue; in BlacKkKlansman it isn’t being black or white or anything else that defines you, it is what you do, what you say and what you stand for. And that idea is so crystal clear and well achieved that as an entertainment the film can then go anywhere it wants around that framework. Which it revels in doing.
It is both a good looking film and an exciting one; funny when it wants to be, smart all the time, and razor serious when it needs to be. A balancing act not to be sniffed at! And one that Lee has struggled with in the past. Here he nails the tone so well that it feels like his entire back catalogue was just a training exercise to get him to this point. I wouldn’t say it’s a masterpiece, but it is a damn fine work of art on many levels.
Washington as the focus of the tale, which also functions perfectly as an undercover cop movie of basic intent, i.e. infiltrate the bad guys and take them down, is perfectly cast and believable from minute one. His chemistry with the insanely gorgeous and talented Laura Harrier is a highlight, especially watching them dance and move with absolute cool in those 70s clothes and hairstyles. This movie has serious style that leaves you in no doubt that the black sub-culture is where it’s at, and the stupid bigoted klansmen are shown up as ridiculous as much as dangerous.
Every trope and icon of the Blacksploitation era is referenced and reclaimed as cool. Perhaps to a degree I am not aware of, as I’ve only seen one or two obvious examples in my time. We are given the tease to follow the notion that racism of this kind was a thing of the past, specifically related to the 70s and now it’s better in many ways. Before we are hit with the hammer blow of realisation at the very end of the film, where a juxtaposition of fantasy and horrific reality collide to magnificently shocking and depressing effect.
I felt after seeing it that I had been cleverly schooled. As in, I’m glad you enjoyed this, now go away and really think about it… and it worked, because I have tried to think about it more than I have before. And feel just that little bit more educated to a problem that is worldwide, but has never really felt directly part of my world.
Discussing anything related to the BLM movement in 2020 feels important and complicated in so many ways. It is an emotive subject that I’d feel I mostly want to avoid for fear of saying the wrong thing. Even though the basic idea of human rights and basic rights for all people has always been a no brainer; prejudice and hate crimes and fear are wrong, and we collectively must do whatever we can to educate ourselves and others not to make the mistakes of the past. Can a movie do that? No of course not, but it can open the door to dialogue that might not have happened otherwise.
Lee isn’t scared of what you think of this film, or any argument you may have against it. He knows his subject, and you feel that confidence in every scene. He doesn’t want to lecture you, or scream at you in despair, he wants to tell you an entertaining story that comes with a whole side discussion if you want it. Which is so much more powerful than any tactic he has tried before. And I think it works. I’d recommend anyone watch this, without hesitation.
I like Malcolm X to a point, but it is overlong and uneven. I think Do the Right Thing is a fine example of indie bravura, but also has faults. Of the rest, I really only rate 25th Hour and Inside Man, both of which are entertaining movies that move tentatively away from full on politics and therefore avoid the trap of being bombastic. In short, I’ve always wanted to like him as a director a lot more than I do.
The thing that drew me to BlacKkKlansman more than Lee, or the yet little known John David Washington, was the 100% dependable Adam Driver. I have yet to see a performance of his I didn’t like, and I’d heard that he was the standout of this film too, so it went on my list of must sees. And, yes, he is excellent, of course he is – there’s something about how easy and relaxed he can be within a character that is very rare. I’d suggest he is one of the very best male actors of that age group working today.
Now, obviously, it is entirely intentional that the two leads and eventual partners in the film are black and white… but the idea that this is a problem, or a thing at all, is not addressed as the only issue; in BlacKkKlansman it isn’t being black or white or anything else that defines you, it is what you do, what you say and what you stand for. And that idea is so crystal clear and well achieved that as an entertainment the film can then go anywhere it wants around that framework. Which it revels in doing.
It is both a good looking film and an exciting one; funny when it wants to be, smart all the time, and razor serious when it needs to be. A balancing act not to be sniffed at! And one that Lee has struggled with in the past. Here he nails the tone so well that it feels like his entire back catalogue was just a training exercise to get him to this point. I wouldn’t say it’s a masterpiece, but it is a damn fine work of art on many levels.
Washington as the focus of the tale, which also functions perfectly as an undercover cop movie of basic intent, i.e. infiltrate the bad guys and take them down, is perfectly cast and believable from minute one. His chemistry with the insanely gorgeous and talented Laura Harrier is a highlight, especially watching them dance and move with absolute cool in those 70s clothes and hairstyles. This movie has serious style that leaves you in no doubt that the black sub-culture is where it’s at, and the stupid bigoted klansmen are shown up as ridiculous as much as dangerous.
Every trope and icon of the Blacksploitation era is referenced and reclaimed as cool. Perhaps to a degree I am not aware of, as I’ve only seen one or two obvious examples in my time. We are given the tease to follow the notion that racism of this kind was a thing of the past, specifically related to the 70s and now it’s better in many ways. Before we are hit with the hammer blow of realisation at the very end of the film, where a juxtaposition of fantasy and horrific reality collide to magnificently shocking and depressing effect.
I felt after seeing it that I had been cleverly schooled. As in, I’m glad you enjoyed this, now go away and really think about it… and it worked, because I have tried to think about it more than I have before. And feel just that little bit more educated to a problem that is worldwide, but has never really felt directly part of my world.
Discussing anything related to the BLM movement in 2020 feels important and complicated in so many ways. It is an emotive subject that I’d feel I mostly want to avoid for fear of saying the wrong thing. Even though the basic idea of human rights and basic rights for all people has always been a no brainer; prejudice and hate crimes and fear are wrong, and we collectively must do whatever we can to educate ourselves and others not to make the mistakes of the past. Can a movie do that? No of course not, but it can open the door to dialogue that might not have happened otherwise.
Lee isn’t scared of what you think of this film, or any argument you may have against it. He knows his subject, and you feel that confidence in every scene. He doesn’t want to lecture you, or scream at you in despair, he wants to tell you an entertaining story that comes with a whole side discussion if you want it. Which is so much more powerful than any tactic he has tried before. And I think it works. I’d recommend anyone watch this, without hesitation.
5 Minute Movie Guy (379 KP) rated X-Men: Days of Future Past (2014) in Movies
Jun 26, 2019
This is the X-Men movie you've always hoped for. (3 more)
James McAvoy and Michael Fassbender further prove they are worthy successors to Patrick Stewart and Ian McKellan.
The action and special effects are brilliantly executed and undeniably satisfying.
An effective and engaging story with commendable performances all around.
This is what most superhero movies should strive to emulate. X-Men: Days of Future Past is a miraculous, thrilling, and rewarding experience that you’ll want to see again and again.
The future in X-Men: Days of Future Past is more desolate than ever. Mutants are being hunted to extinction, with the few remaining survivors living together as refugees as they try to escape their all-too-certain fate of captivity or death. They are hunted by Sentinels, versatile and powerful machines programmed to locate and imprison any and all mutants, as well as any humans that attempt to help them. The entire world has been transformed into an apocalyptic dystopia at the mercy of these machines. In order to prevent their inevitable demise, the mutants devise a plan that will rewrite the course of history by telepathically sending the consciousness of one of their own back in time in order to stop the Sentinels from ever rising to power. Doing so means averting the assassination of their designer, Dr. Bolivar Trask, and accomplishing this will require the disbanded X-Men crew to put aside their differences and reunite for a common goal; to save the fate of mutants.
X-Men: Days of Future Past is personally only the second X-Men film that I have seen, and I believe that’s to my disadvantage when watching it. That’s not to say the film isn’t accessible to people that are unfamiliar with X-Men, but you will certainly get the most out of it if you’ve seen the other films, or at least are somewhat knowledgeable about the super mutant group. Fortunately for me, even though I haven’t seen the original X-Men trilogy, nor the Wolverine spin-off films, I saw plenty of the popular X-Men cartoon of the ‘90s when growing up, and probably read more than a handful of the comics. Therefore I felt right at home with the story, even when it quickly thrusts the audience right into the thick of the action. I can imagine newcomers might at times feel a little overwhelmed, especially with such a wide array of unique characters, and so much going on. Although I do believe that the film manages to very effectively balance the action and characters, and create an immensely entertaining and engaging experience regardless of your history with X-Men.
I think it speaks of the true power and quality of the film when I say that after watching X-Men: Days of Future Past, I am now eager to watch all of the other entries in the movie series. Not only to help myself better understand the numerous references to past films, but because the film is so good and so expertly made that I don’t want to miss anything else. Make no mistake, X-Men: Days of Future Past is not only one of the best superhero movies ever made, it’s also the perfect homage to the X-Men. The film merges the two timelines seamlessly, combining the legendary cast of the original trilogy with the equally impressive cast of X-Men: First Class. It ties everything together so well and concludes in such an extraordinary manner that I would feel perfectly content if they ended the X-Men series entirely with Days of Future Past. While I don’t expect the already announced X-Men: Apocalypse (2016) to be able to top this one, I will admit that I am still more than excited to see what they have in store for the future.
Days of Future Past has an incredible, star-studded cast. It brings back the beloved X-Men stars of old, highlighted by Hugh Jackman as Wolverine, as well as with Patrick Stewart and Ian McKellan reprising their roles as Professor X and Magneto. In addition, it includes the cast of X-Men: First Class, with James McAvoy and Michael Fassbender playing younger versions of Professor X and Magneto, while Jennifer Lawrence returns as Mystique. The more substantial newcomers include Game of Thrones star Peter Dinklage as Trask, the creator of the Sentinels, and Evan Peters, playing a teenage Quicksilver. Despite the film having a large number of characters, it doesn’t feel like any of them get the short end of the stick. While some of them may not get much screen-time, Days of Future Past still gives you a solid display of what each of the mutants are capable of. It’s a truly wonderful thing to be able to witness the new era of X-Men actors in the same film as their older counterparts, and it makes it all the more apparent just how remarkably well-cast McAvoy and Fassbender are for their roles. These two young stars in particular have especially large shoes to fill, but they each do an exceptional job. The way in which the film combines the young actors with the old makes it feel as though it’s honoring a proper passing of the torch from one generation to the next.
This action-packed film features some great acting performances, and even though there are a lot of characters, I don’t believe there is a single weak performance among them. The real star of the show is James McAvoy as young Charles Xavier, otherwise known as Professor X. McAvoy nails the inner-conflict of his character in what is surely the most demanding role of the movie. He portrays a convincing struggle of a great man who has lost his way and fallen into despair and desolation. He is a man torn apart by the tension between his feelings of compassion and his guilt-ridden capitulation. Fassbender, on the contrary, is unnerving and yet engrossing as the magnificent Magneto. I personally loved the way in which his character continuously throws a wrench into everyone’s plans by opting to take an alternative and selfish approach. I found him to be notably riveting during a tense scene that takes place on an airplane, where Fassbender really demonstrates his talent. Then of course, there’s everybody’s favorite mutant, Wolverine. Hugh Jackman’s Wolverine is wonderfully enthralling, insanely ripped, and appropriately arrogant. Jackman has turned Wolverine into a career-defining role. There is no doubt about it, he is Wolverine, and no one will ever do it better. Meanwhile, everybody’s favorite actress, Jennifer Lawrence, adds an emotional and memorable performance as Mystique. Lastly, newcomer Evan Peters is a real-stand out as Quicksilver, in a performance that surely will become an instant fan favorite. His big scene alone makes me wish I had seen the movie in 3D, and in fact, the movie is so good that I just might do that. The stellar cast of X-Men: Days of Future Past hit all the right notes, making the characters memorable, and personable.
The action in Days of Future Past is simply phenomenal. This is what most superhero movies should strive to emulate. What I admire most about the action of this film is that it’s smart. It’s well-thought-out and well-executed. It never feels derivative, nor uninspired. Everything has its purpose and has a tangible weight to it. Rather than cluttering the film with unnecessary action pieces, it instead focuses on making its important action sequences really memorable and really good. It also handles its use of violence extremely well, making it powerful and satisfying, without making it feel sugarcoated because of its PG-13 rating. The movie’s score is suitably powerful, helping to escalate the action and establish a tense, grandiose ambiance. The special effects seen here are outstanding. This is a big upgrade over First Class, not only in visual quality, but certainly also in scale. It reaches an epic level and yet it never hinders in quality or takes any shortcuts. It shows you what you want to see, and does it better than you’d ever expect. The result is a movie that’s as visually remarkable as it is entertaining. The true enemies of Days of Future Past, the Sentinels, look awesome. I don’t know how they looked in the older movies, if they’re even present at all, but I never liked their appearance in the comic books. I’m glad they’ve been completely reimagined from their original design, and I love how the movie demonstrates their ability to adapt to make them more efficient mutant-killing machines. The character Beast also looks better than ever, unlike in First Class where his appearance was embarrassingly bad, and borderline laughable. In X-Men: Days of Future Past, everything looks stellar. You won’t want to look away as you’re sitting on the edge of your seat in sheer delight.
The majority of the film is set in the 1970s, taking place after the events of X-Men: First Class, as the Vietnam War is coming to an end. Considering that the film deals with themes of discrimination, it’s fitting that this setting coincides with the Civil Rights movement, even though it’s not explicitly referenced. This was a time in American history when the country was divided, and it offers a strong parallel to the grim, segregated world depicted in the film’s present-day wasteland. The story of Days of Future Past is rather dark, dealing with an apocalyptic future fueled by fear, jealousy and hatred. Although, it still has its fair share of laughs, thanks to the always charming Wolverine and the lightning fast Quicksilver. The movie does an admirable job in recreating the ‘70s, and additionally with juggling the different time periods, while maintaining a steady, coherent pace. However, as much as I enjoyed the ending, I must say that using time travel as a method to clean up a series’ loose ends seems a little cheap, but it’s entirely forgivable given just how beautifully it all comes together. X-Men: Days of Future Past is ultimately a miraculous, thrilling, and rewarding experience that you’ll want to see again and again.
X-Men: Days of Future Past embodies everything I love about movies. It has great action, unforgettable characters, an engaging story, top-notch special effects, and a nice healthy dose of comedy, while never feeling unoriginal or insignificant. I really believe this movie is every X-Men fan’s dream come true. To be honest, I have never considered myself much of an X-Men fan. Now that I’ve seen Days of Future Past, I’m an X-Men fan for life.
(This review was originally posted at 5mmg.com on 5.26.14.)
X-Men: Days of Future Past is personally only the second X-Men film that I have seen, and I believe that’s to my disadvantage when watching it. That’s not to say the film isn’t accessible to people that are unfamiliar with X-Men, but you will certainly get the most out of it if you’ve seen the other films, or at least are somewhat knowledgeable about the super mutant group. Fortunately for me, even though I haven’t seen the original X-Men trilogy, nor the Wolverine spin-off films, I saw plenty of the popular X-Men cartoon of the ‘90s when growing up, and probably read more than a handful of the comics. Therefore I felt right at home with the story, even when it quickly thrusts the audience right into the thick of the action. I can imagine newcomers might at times feel a little overwhelmed, especially with such a wide array of unique characters, and so much going on. Although I do believe that the film manages to very effectively balance the action and characters, and create an immensely entertaining and engaging experience regardless of your history with X-Men.
I think it speaks of the true power and quality of the film when I say that after watching X-Men: Days of Future Past, I am now eager to watch all of the other entries in the movie series. Not only to help myself better understand the numerous references to past films, but because the film is so good and so expertly made that I don’t want to miss anything else. Make no mistake, X-Men: Days of Future Past is not only one of the best superhero movies ever made, it’s also the perfect homage to the X-Men. The film merges the two timelines seamlessly, combining the legendary cast of the original trilogy with the equally impressive cast of X-Men: First Class. It ties everything together so well and concludes in such an extraordinary manner that I would feel perfectly content if they ended the X-Men series entirely with Days of Future Past. While I don’t expect the already announced X-Men: Apocalypse (2016) to be able to top this one, I will admit that I am still more than excited to see what they have in store for the future.
Days of Future Past has an incredible, star-studded cast. It brings back the beloved X-Men stars of old, highlighted by Hugh Jackman as Wolverine, as well as with Patrick Stewart and Ian McKellan reprising their roles as Professor X and Magneto. In addition, it includes the cast of X-Men: First Class, with James McAvoy and Michael Fassbender playing younger versions of Professor X and Magneto, while Jennifer Lawrence returns as Mystique. The more substantial newcomers include Game of Thrones star Peter Dinklage as Trask, the creator of the Sentinels, and Evan Peters, playing a teenage Quicksilver. Despite the film having a large number of characters, it doesn’t feel like any of them get the short end of the stick. While some of them may not get much screen-time, Days of Future Past still gives you a solid display of what each of the mutants are capable of. It’s a truly wonderful thing to be able to witness the new era of X-Men actors in the same film as their older counterparts, and it makes it all the more apparent just how remarkably well-cast McAvoy and Fassbender are for their roles. These two young stars in particular have especially large shoes to fill, but they each do an exceptional job. The way in which the film combines the young actors with the old makes it feel as though it’s honoring a proper passing of the torch from one generation to the next.
This action-packed film features some great acting performances, and even though there are a lot of characters, I don’t believe there is a single weak performance among them. The real star of the show is James McAvoy as young Charles Xavier, otherwise known as Professor X. McAvoy nails the inner-conflict of his character in what is surely the most demanding role of the movie. He portrays a convincing struggle of a great man who has lost his way and fallen into despair and desolation. He is a man torn apart by the tension between his feelings of compassion and his guilt-ridden capitulation. Fassbender, on the contrary, is unnerving and yet engrossing as the magnificent Magneto. I personally loved the way in which his character continuously throws a wrench into everyone’s plans by opting to take an alternative and selfish approach. I found him to be notably riveting during a tense scene that takes place on an airplane, where Fassbender really demonstrates his talent. Then of course, there’s everybody’s favorite mutant, Wolverine. Hugh Jackman’s Wolverine is wonderfully enthralling, insanely ripped, and appropriately arrogant. Jackman has turned Wolverine into a career-defining role. There is no doubt about it, he is Wolverine, and no one will ever do it better. Meanwhile, everybody’s favorite actress, Jennifer Lawrence, adds an emotional and memorable performance as Mystique. Lastly, newcomer Evan Peters is a real-stand out as Quicksilver, in a performance that surely will become an instant fan favorite. His big scene alone makes me wish I had seen the movie in 3D, and in fact, the movie is so good that I just might do that. The stellar cast of X-Men: Days of Future Past hit all the right notes, making the characters memorable, and personable.
The action in Days of Future Past is simply phenomenal. This is what most superhero movies should strive to emulate. What I admire most about the action of this film is that it’s smart. It’s well-thought-out and well-executed. It never feels derivative, nor uninspired. Everything has its purpose and has a tangible weight to it. Rather than cluttering the film with unnecessary action pieces, it instead focuses on making its important action sequences really memorable and really good. It also handles its use of violence extremely well, making it powerful and satisfying, without making it feel sugarcoated because of its PG-13 rating. The movie’s score is suitably powerful, helping to escalate the action and establish a tense, grandiose ambiance. The special effects seen here are outstanding. This is a big upgrade over First Class, not only in visual quality, but certainly also in scale. It reaches an epic level and yet it never hinders in quality or takes any shortcuts. It shows you what you want to see, and does it better than you’d ever expect. The result is a movie that’s as visually remarkable as it is entertaining. The true enemies of Days of Future Past, the Sentinels, look awesome. I don’t know how they looked in the older movies, if they’re even present at all, but I never liked their appearance in the comic books. I’m glad they’ve been completely reimagined from their original design, and I love how the movie demonstrates their ability to adapt to make them more efficient mutant-killing machines. The character Beast also looks better than ever, unlike in First Class where his appearance was embarrassingly bad, and borderline laughable. In X-Men: Days of Future Past, everything looks stellar. You won’t want to look away as you’re sitting on the edge of your seat in sheer delight.
The majority of the film is set in the 1970s, taking place after the events of X-Men: First Class, as the Vietnam War is coming to an end. Considering that the film deals with themes of discrimination, it’s fitting that this setting coincides with the Civil Rights movement, even though it’s not explicitly referenced. This was a time in American history when the country was divided, and it offers a strong parallel to the grim, segregated world depicted in the film’s present-day wasteland. The story of Days of Future Past is rather dark, dealing with an apocalyptic future fueled by fear, jealousy and hatred. Although, it still has its fair share of laughs, thanks to the always charming Wolverine and the lightning fast Quicksilver. The movie does an admirable job in recreating the ‘70s, and additionally with juggling the different time periods, while maintaining a steady, coherent pace. However, as much as I enjoyed the ending, I must say that using time travel as a method to clean up a series’ loose ends seems a little cheap, but it’s entirely forgivable given just how beautifully it all comes together. X-Men: Days of Future Past is ultimately a miraculous, thrilling, and rewarding experience that you’ll want to see again and again.
X-Men: Days of Future Past embodies everything I love about movies. It has great action, unforgettable characters, an engaging story, top-notch special effects, and a nice healthy dose of comedy, while never feeling unoriginal or insignificant. I really believe this movie is every X-Men fan’s dream come true. To be honest, I have never considered myself much of an X-Men fan. Now that I’ve seen Days of Future Past, I’m an X-Men fan for life.
(This review was originally posted at 5mmg.com on 5.26.14.)
5 Minute Movie Guy (379 KP) rated Mad Max: Fury Road (2015) in Movies
Jun 30, 2019 (Updated Sep 16, 2019)
Mad Max: Fury Road is an intense, action-packed, visually stunning, and wildly entertaining film. It's only when the action slows down that the film starts to show signs of decay.
30 years and a fresh face later, the Mad Max series makes an extravagant and exhilarating return to theaters with Mad Max: Fury Road. Mel Gibson’s iconic wasteland warrior hero Max Rockatansky has been recast with the talented Tom Hardy, who gives us a more visceral and damaged portrayal of the character. Having endured years in the Hellish wasteland, Max now acts on his sole instinct of surviving. He’s ravaged by the horrors of his past and has lost all semblance of hope in this bleak, post-apocalyptic future where water is scarce and mayhem is bountiful. Director and series creator George Miller does a masterful job in creating a remarkable and inventive world of chaos and destruction, with action sequences that are practically unparalleled. Mad Max: Fury Road is a movie that keeps its fat, irradiated foot firmly pressed on the gas pedal throughout almost its entire duration, resulting in a movie that’s intense, action-packed, visually stunning, perfectly bizarre, wonderfully inventive, and wildly entertaining. It’s only when the action slows down that the film starts to show signs of decay.
In Fury Road, we first encounter Max alone in the wasteland in what is about to be a very long and very bad day. He’s quickly spotted and pursued by a pack of deathly-pale skinhead warriors known as Warboys. Outnumbered and easily captured, Max is taken to The Citadel, which serves as the home of the film’s central conflict. The monstrously plagued Immortan Joe rules over The Citadel like a cult leader, promising eternal salvation to his army of Warboys who die fighting for him. The city is a place of great disparity, as Joe teases the peasants with water, while he enjoys the excesses of his precious resources. Even worse is that he’s enslaved healthy, young women, known as his Five Wives, for the sake of producing his children.
This predicament doesn’t sit well with the battle-hardened woman warrior Imperator Furiosa (Charlize Theron) who serves under Immortan Joe’s command. Tired of Joe’s tyrannous ways, Imperator Furiosa betrays her leader during a routine gas run by venturing her armored war-rig offroad with the Five Wives secretly in tow. When news spreads that Furiosa is trying to escape and has taken the Wives with her, Joe and his army of Warboys feverishly follow in pursuit. This begins an epic, elaborate, and expertly crafted chase sequence that is absolutely outrageous and unmistakably brilliant.
Meanwhile, the enslaved Max ends up being inopportunely thrust into the action at full throttle, chained to the front of a car like a hood ornament. While Max’s name may be in the title, make no mistake about it, this is Furiosa’s story. Max is primarily just along for the ride, and doing whatever he can to survive. That’s not to say that Max is simply an unfortunate onlooker to the events of the film, but he is given little in the way of dialogue and backstory, and is chained up for a substantial portion of Fury Road. Though it should be said that the movie as a whole is rather thin on story and dialogue and it merely glosses over the plot to retain its focus on the action, which is where the film really sets itself apart.
The majority of the Fury Road serves as this long, impressive chase sequence that miraculously continues to escalate as the film goes on, despite appearing to throw the whole kitchen sink at you right at the beginning. It’s explosive, crazy, and jaw-droppingly awesome from the get-go, and yet believe me, it only gets bigger and better. Just wait until later when they start adding monster trucks, mini-guns, pole-vaulters, dirt bike-riding grannies, and a guitar flamethrower. It will leave you giddy with excitement. It’s an amazing, heavy-metal, end-of-the-world spectacle that you just got to see to believe. What makes it all even more incredible is that so much of the action is achieved by practical effects, with real stunts and car crashes and explosions.
Unfortunately, in the rare moments when Fury Road lets its foot off the gas and slows down the action, it sometimes sputters. Take for instance, the film’s climactic turning point when Furiosa’s dreams are spoiled. She dramatically falls to her knees in the sand, reeling in despair, and screams out into the void. This pivotal moment should be the most powerful moment of the film, but for me it fell completely flat. The problem here is that I never felt a strong attachment to the characters. While I respect Furiosa and Max for their strength in this struggle, I also feel like I don’t know much of anything about them, except that they’re adept at surviving and have battled through Hell to get to this point. So while this brief interlude drags a bit, Max thankfully turns things back around and leads us right back into the heart of the action, where Fury Road is at its best.
Charlize Theron gives a commanding performance as Furiosa, easily establishing herself among the ranks of the great female action stars. She makes for an excellent partner to Tom Hardy’s Max (though reportedly not so much on set). Hardy, on the other hand, puts in a solid performance, but I do take some issue with it. Truthfully, he just didn’t quite feel like Mad Max. His take on the character is too rugged. He’s missing the charm and likability that Mel Gibson’s Max had. His character may be cool, but he’s difficult to relate to, and feels remarkably reduced as he grunts throughout half of the movie without uttering a word. I can’t help but feel that perhaps Hardy took Max’s madness and survival instincts a little too far. The film also stars Nicholas Hoult as Nux, the Warboy that led Max into this whole mess, who expresses a much more appealing level of craziness. Whereas Nux is an energetic, lunatic cult follower, Max seems like he’s just a few bolts short of becoming a mentally-deranged hobo, which might not bode so well for future films. Lastly, there’s Immortan Joe, played by Hugh Keays-Byrne, who has an exceptional screen presence by being imposing, frightening, and so over-the-top that he’s kind of funny.
Visually and artistically, Mad Max: Fury Road is a triumphant success. It’s more gorgeous than you would ever think possible for a decrepit, wasteland warzone. Considerable skill and attention to detail are demonstrated to bring beauty out of this decaying environment. It features first-rate cinematography and unbelievable creativity. You’ll wonder how anyone ever thought of this stuff, but you’ll be grateful they did. The characters all look outstanding, unique, and memorable. I particularly loved Furiosa’s appearance with her prosthetic arm and grease-smeared warpaint. More impressive still is the menacing Immortan Joe with his mask and elaborate body armor. Fury Road similarly has beautiful special effects which greatly enhance the atmosphere as well as the film’s many remarkable stunts. In all, this is sure to be one of the best looking films of the year.
Mad Max: Fury Road may not be a perfect film, but it makes for an explosive and unforgettable return to the series. It’s truly a creative tour-de-force, with ingenious action, stellar design, and stunning visuals. It features brilliantly choreographed fights and chases, and some of the coolest movie stunts I’ve ever seen. The movie doesn’t always get the emotional punch it’s aiming for, and it has its share of awkward moments, but it sure makes a lasting impression with its intense, adrenaline-pumping theatrics. It might be a little too strange and twisted for some (though it’s relatively tame for being rated R), however, those who can handle the wasteland are sure to find a film that is deserving of respect and admiration. While I have my gripes with Hardy’s portrayal of Max, I know that I, for one, still can’t wait to see what the future holds for everybody’s favorite road warrior.
(The review was originally posted at 5mmg.com on 5.19.15.)
In Fury Road, we first encounter Max alone in the wasteland in what is about to be a very long and very bad day. He’s quickly spotted and pursued by a pack of deathly-pale skinhead warriors known as Warboys. Outnumbered and easily captured, Max is taken to The Citadel, which serves as the home of the film’s central conflict. The monstrously plagued Immortan Joe rules over The Citadel like a cult leader, promising eternal salvation to his army of Warboys who die fighting for him. The city is a place of great disparity, as Joe teases the peasants with water, while he enjoys the excesses of his precious resources. Even worse is that he’s enslaved healthy, young women, known as his Five Wives, for the sake of producing his children.
This predicament doesn’t sit well with the battle-hardened woman warrior Imperator Furiosa (Charlize Theron) who serves under Immortan Joe’s command. Tired of Joe’s tyrannous ways, Imperator Furiosa betrays her leader during a routine gas run by venturing her armored war-rig offroad with the Five Wives secretly in tow. When news spreads that Furiosa is trying to escape and has taken the Wives with her, Joe and his army of Warboys feverishly follow in pursuit. This begins an epic, elaborate, and expertly crafted chase sequence that is absolutely outrageous and unmistakably brilliant.
Meanwhile, the enslaved Max ends up being inopportunely thrust into the action at full throttle, chained to the front of a car like a hood ornament. While Max’s name may be in the title, make no mistake about it, this is Furiosa’s story. Max is primarily just along for the ride, and doing whatever he can to survive. That’s not to say that Max is simply an unfortunate onlooker to the events of the film, but he is given little in the way of dialogue and backstory, and is chained up for a substantial portion of Fury Road. Though it should be said that the movie as a whole is rather thin on story and dialogue and it merely glosses over the plot to retain its focus on the action, which is where the film really sets itself apart.
The majority of the Fury Road serves as this long, impressive chase sequence that miraculously continues to escalate as the film goes on, despite appearing to throw the whole kitchen sink at you right at the beginning. It’s explosive, crazy, and jaw-droppingly awesome from the get-go, and yet believe me, it only gets bigger and better. Just wait until later when they start adding monster trucks, mini-guns, pole-vaulters, dirt bike-riding grannies, and a guitar flamethrower. It will leave you giddy with excitement. It’s an amazing, heavy-metal, end-of-the-world spectacle that you just got to see to believe. What makes it all even more incredible is that so much of the action is achieved by practical effects, with real stunts and car crashes and explosions.
Unfortunately, in the rare moments when Fury Road lets its foot off the gas and slows down the action, it sometimes sputters. Take for instance, the film’s climactic turning point when Furiosa’s dreams are spoiled. She dramatically falls to her knees in the sand, reeling in despair, and screams out into the void. This pivotal moment should be the most powerful moment of the film, but for me it fell completely flat. The problem here is that I never felt a strong attachment to the characters. While I respect Furiosa and Max for their strength in this struggle, I also feel like I don’t know much of anything about them, except that they’re adept at surviving and have battled through Hell to get to this point. So while this brief interlude drags a bit, Max thankfully turns things back around and leads us right back into the heart of the action, where Fury Road is at its best.
Charlize Theron gives a commanding performance as Furiosa, easily establishing herself among the ranks of the great female action stars. She makes for an excellent partner to Tom Hardy’s Max (though reportedly not so much on set). Hardy, on the other hand, puts in a solid performance, but I do take some issue with it. Truthfully, he just didn’t quite feel like Mad Max. His take on the character is too rugged. He’s missing the charm and likability that Mel Gibson’s Max had. His character may be cool, but he’s difficult to relate to, and feels remarkably reduced as he grunts throughout half of the movie without uttering a word. I can’t help but feel that perhaps Hardy took Max’s madness and survival instincts a little too far. The film also stars Nicholas Hoult as Nux, the Warboy that led Max into this whole mess, who expresses a much more appealing level of craziness. Whereas Nux is an energetic, lunatic cult follower, Max seems like he’s just a few bolts short of becoming a mentally-deranged hobo, which might not bode so well for future films. Lastly, there’s Immortan Joe, played by Hugh Keays-Byrne, who has an exceptional screen presence by being imposing, frightening, and so over-the-top that he’s kind of funny.
Visually and artistically, Mad Max: Fury Road is a triumphant success. It’s more gorgeous than you would ever think possible for a decrepit, wasteland warzone. Considerable skill and attention to detail are demonstrated to bring beauty out of this decaying environment. It features first-rate cinematography and unbelievable creativity. You’ll wonder how anyone ever thought of this stuff, but you’ll be grateful they did. The characters all look outstanding, unique, and memorable. I particularly loved Furiosa’s appearance with her prosthetic arm and grease-smeared warpaint. More impressive still is the menacing Immortan Joe with his mask and elaborate body armor. Fury Road similarly has beautiful special effects which greatly enhance the atmosphere as well as the film’s many remarkable stunts. In all, this is sure to be one of the best looking films of the year.
Mad Max: Fury Road may not be a perfect film, but it makes for an explosive and unforgettable return to the series. It’s truly a creative tour-de-force, with ingenious action, stellar design, and stunning visuals. It features brilliantly choreographed fights and chases, and some of the coolest movie stunts I’ve ever seen. The movie doesn’t always get the emotional punch it’s aiming for, and it has its share of awkward moments, but it sure makes a lasting impression with its intense, adrenaline-pumping theatrics. It might be a little too strange and twisted for some (though it’s relatively tame for being rated R), however, those who can handle the wasteland are sure to find a film that is deserving of respect and admiration. While I have my gripes with Hardy’s portrayal of Max, I know that I, for one, still can’t wait to see what the future holds for everybody’s favorite road warrior.
(The review was originally posted at 5mmg.com on 5.19.15.)
Gareth von Kallenbach (971 KP) rated Prometheus (2012) in Movies
Aug 7, 2019
After nearly 2 years of waiting and rampant speculation, director Ridley Scott’s science-fiction epic Prometheus has finally arrived. The project initially started as a prequel to Alien, and in doing so got the attention of the Alien fan community. After the last two sequels and two disastrous Alien Versus Predator spinoffs, this fan community was eager for the director who started the series to bring the series back to prominence. However, hopes were dashed when it was announced that Prometheus would not be a prequel but instead a standalone film that “shared” DNA with Alien. As production of the film developed under very tight conditions, fans could only speculate as to the nature of the film even when leaked photos and eventually trailers seem to indicate more than a passing connection to the Alien franchise.
The film follows the story of Dr. Elizabeth Shaw (Noomi Rapace), who in the late 21st century makes a startling discovery with her boyfriend Charlie Halloway (Logan Marshall-Green). Their discovery leads to an extremely expensive expedition to an unknown area of space aboard the state-of-the-art research vessel Prometheus. The eclectic but talented crew of experts along for the ride are under the stern watch of Meredith Vickers (Charlize Theron), who has been appointed by the Weyland Corporation to oversee the expedition even though she is highly skeptical about the expected goals that set the crew on the journey.
Holloway and Shaw believe that a series of paintings they discovered at several archaeological sites throughout the world indicated that ancient man had been visited and guided by beings from beyond the stars and that said beings may very well be responsible for engineering humanity as well.
After a journey of nearly 2.5 years the crew arrives at the star system depicted in the paintings and soon find themselves exploring a temple-like structure on an otherwise desolate and apparently lifeless moon. Despite the misgivings of the crew, when the true nature of their expedition is revealed upon their arrival, Shaw and Holloway are vindicated when remains of alien life forms and other technology are discovered by the crew.
Their initial exploration cut short due to a violent storm, the crew returns the safety of the ship to wait out the storm, save for two members of the team who remained at the temple after becoming lost. A series of events follow which soon indicate that not only are there hidden agendas at play but that the crew has stumbled upon a discovery that they are ill-prepared for.
Bizarre and horrific revelations and events follow which cause the crew members to question their motivations and the expedition’s purpose as well as examine their place in a much more complex and dangerous universe, where their petty human concerns and conflicts now seem much more insignificant.
It would be very difficult to go into further detail with spoiling key elements to the film. Suffice it to say that there are some real twist and turns along the way as well as some thrills and action that keep things moving along nicely as the film makes its way towards the conclusion. But, yes, Prometheus does have a very clear connection to the Alien films.
Scott had said that he wanted to do something epic in scale and in that he has, for the most part, succeeded. Shot using the latest 3-D technology, the film is amazing to watch. The opening sequence, as well as some footage of the ship in-flight, are truly gorgeous to look at and the amazing attention to detail not only on the alien world but on the ship itself is truly spectacular.
Early in the film, the android David (Michael Fassbender) is seen going through his various routines on the ship as the crew sleeps in suspended animation. His various activities range from monitoring the crew and their dreams, to watching old movies and studying ancient languages and keeping an eye on the ship systems. All that seems fairly routine, but it is his skill with a basketball that was fascinating and establishes the complex and dynamic character that he portrays.
This introduction underscores the diversity of the crew. We are given bits and pieces about all of them to help them stand out from the usual stock characters in this type of film. While we are not given as complete a background set up as I would’ve liked, little touches such as Capt. Janik (Idris Elba), insisting upon celebrating Christmas as well as the crew running side bets, help to underscore that these are people we can easily relate to, just doing their job in extraordinary situations. This was something that Scott mastered in the original Alien, giving you average Joe’s who had to deal with extraterrestrial horror.
I mention this because Prometheus is not an action film, nor is it a horror film. I wonder if perhaps this film had not had the production costs that it does, if it would be better suited for fall release. I say this not as a criticism of the movie, simply to emphasize the fact this is a movie that requires thought, something your typical summer blockbuster doesn’t. Scott does not lay it out on a plate for the audience and say “Here it is, take it.” He presents a story filled with questions, and instead of giving you answers, gives you even more questions as the film goes along.
At first, this was more than a bit frustrating as I wanted answers to questions I’ve had since seeing the original Alien back in 1979. I wanted to know more about some of the plot lines and characters as well as certain situations that were in the film. At one point the captain shares some very important information. I asked myself how this piece of news was arrived at, as certainly a discovery of this magnitude would have been a very interesting scene. However much like the film’s premise, faith is an underlying and key component. Just as the characters discuss and act based on faith, or lack thereof, audience members asked to have faith in the storyline and the sequence of events that lead up to the finale. There will be those who will be unwilling to do so and will be quick to find fault with the film, cast, and plot. But I hope there will be more who accept that they are seeing the first part of a larger journey and understand that there are things that they are meant to know, as well as things hey are not meant to know and in time more may be revealed.
Scott has indicated that he would like to do another film in the series and scuttlebutt indicates the studio would very much like to entertain thoughts of a trilogy. I would certainly like to see this, as would a few of my fellow critics. Following our screening, three of us stood around discussing aspects of the film, trying to figure out what it really meant and how it connected to the Alien series as well as potential future films in the series. If nothing else, this movie will spark interesting conversation.
As the days have passed since seeing the film I’ve appreciated it more and more with each passing day. Scott could have taken the easy way out and given a straight up prequel to Alien complete with all manner of monsters and CGI creatures on the loose wrecking havoc upon a crew of unfortunate victims. Instead he opted to take a much larger look at life, the universe, and our place in it and wove a complex and open-ended framework that not only provided fantastic entertainment but also provided an opportunity for intelligent conversation and introspection.
From the incredible visuals to the engaging and enjoyable cast, Prometheus is a refreshing and enjoyable film and an extremely welcome and much-needed addition to the alien franchise.
The film follows the story of Dr. Elizabeth Shaw (Noomi Rapace), who in the late 21st century makes a startling discovery with her boyfriend Charlie Halloway (Logan Marshall-Green). Their discovery leads to an extremely expensive expedition to an unknown area of space aboard the state-of-the-art research vessel Prometheus. The eclectic but talented crew of experts along for the ride are under the stern watch of Meredith Vickers (Charlize Theron), who has been appointed by the Weyland Corporation to oversee the expedition even though she is highly skeptical about the expected goals that set the crew on the journey.
Holloway and Shaw believe that a series of paintings they discovered at several archaeological sites throughout the world indicated that ancient man had been visited and guided by beings from beyond the stars and that said beings may very well be responsible for engineering humanity as well.
After a journey of nearly 2.5 years the crew arrives at the star system depicted in the paintings and soon find themselves exploring a temple-like structure on an otherwise desolate and apparently lifeless moon. Despite the misgivings of the crew, when the true nature of their expedition is revealed upon their arrival, Shaw and Holloway are vindicated when remains of alien life forms and other technology are discovered by the crew.
Their initial exploration cut short due to a violent storm, the crew returns the safety of the ship to wait out the storm, save for two members of the team who remained at the temple after becoming lost. A series of events follow which soon indicate that not only are there hidden agendas at play but that the crew has stumbled upon a discovery that they are ill-prepared for.
Bizarre and horrific revelations and events follow which cause the crew members to question their motivations and the expedition’s purpose as well as examine their place in a much more complex and dangerous universe, where their petty human concerns and conflicts now seem much more insignificant.
It would be very difficult to go into further detail with spoiling key elements to the film. Suffice it to say that there are some real twist and turns along the way as well as some thrills and action that keep things moving along nicely as the film makes its way towards the conclusion. But, yes, Prometheus does have a very clear connection to the Alien films.
Scott had said that he wanted to do something epic in scale and in that he has, for the most part, succeeded. Shot using the latest 3-D technology, the film is amazing to watch. The opening sequence, as well as some footage of the ship in-flight, are truly gorgeous to look at and the amazing attention to detail not only on the alien world but on the ship itself is truly spectacular.
Early in the film, the android David (Michael Fassbender) is seen going through his various routines on the ship as the crew sleeps in suspended animation. His various activities range from monitoring the crew and their dreams, to watching old movies and studying ancient languages and keeping an eye on the ship systems. All that seems fairly routine, but it is his skill with a basketball that was fascinating and establishes the complex and dynamic character that he portrays.
This introduction underscores the diversity of the crew. We are given bits and pieces about all of them to help them stand out from the usual stock characters in this type of film. While we are not given as complete a background set up as I would’ve liked, little touches such as Capt. Janik (Idris Elba), insisting upon celebrating Christmas as well as the crew running side bets, help to underscore that these are people we can easily relate to, just doing their job in extraordinary situations. This was something that Scott mastered in the original Alien, giving you average Joe’s who had to deal with extraterrestrial horror.
I mention this because Prometheus is not an action film, nor is it a horror film. I wonder if perhaps this film had not had the production costs that it does, if it would be better suited for fall release. I say this not as a criticism of the movie, simply to emphasize the fact this is a movie that requires thought, something your typical summer blockbuster doesn’t. Scott does not lay it out on a plate for the audience and say “Here it is, take it.” He presents a story filled with questions, and instead of giving you answers, gives you even more questions as the film goes along.
At first, this was more than a bit frustrating as I wanted answers to questions I’ve had since seeing the original Alien back in 1979. I wanted to know more about some of the plot lines and characters as well as certain situations that were in the film. At one point the captain shares some very important information. I asked myself how this piece of news was arrived at, as certainly a discovery of this magnitude would have been a very interesting scene. However much like the film’s premise, faith is an underlying and key component. Just as the characters discuss and act based on faith, or lack thereof, audience members asked to have faith in the storyline and the sequence of events that lead up to the finale. There will be those who will be unwilling to do so and will be quick to find fault with the film, cast, and plot. But I hope there will be more who accept that they are seeing the first part of a larger journey and understand that there are things that they are meant to know, as well as things hey are not meant to know and in time more may be revealed.
Scott has indicated that he would like to do another film in the series and scuttlebutt indicates the studio would very much like to entertain thoughts of a trilogy. I would certainly like to see this, as would a few of my fellow critics. Following our screening, three of us stood around discussing aspects of the film, trying to figure out what it really meant and how it connected to the Alien series as well as potential future films in the series. If nothing else, this movie will spark interesting conversation.
As the days have passed since seeing the film I’ve appreciated it more and more with each passing day. Scott could have taken the easy way out and given a straight up prequel to Alien complete with all manner of monsters and CGI creatures on the loose wrecking havoc upon a crew of unfortunate victims. Instead he opted to take a much larger look at life, the universe, and our place in it and wove a complex and open-ended framework that not only provided fantastic entertainment but also provided an opportunity for intelligent conversation and introspection.
From the incredible visuals to the engaging and enjoyable cast, Prometheus is a refreshing and enjoyable film and an extremely welcome and much-needed addition to the alien franchise.
Movie Metropolis (309 KP) rated Harry Potter and the Deathly Hallows - Part 2 (2011) in Movies
Jun 11, 2019
The moment has come for every budding witch and wizard to say goodbye to the cash cow that has been the Harry Potter franchise and what a send-off he’s been given.
David Yates has once again returned to helm the final instalment in the most profitable movie franchise in history and whilst he has created a near perfect film technically, it falls down on a few points like a lack of character development and overly rushed script.
Deathly Hallows Part 2 picks up immediately from the 1st chapter with a quick reminder of what preceded it. This is a welcome start as the film feels a little disjointed in parts and if you’re not a loyal Harry Potter fan; chances are you won’t understand what’s going on.
Voldermort is gaining power as Harry, Ron and Hermione search for the missing horcruxes in order to destroy them and cripple the fearsome villain. Their travels bring them back to where it all started; Hogwarts school of witchcraft and wizardy; which has changed since we saw it last. Hogwarts has been rendered fabulously and is perhaps the best use of the 3D technology in the entire film. The sweeping shots of the lush, yet foreboding landscape surrounding the iconic castle are given new depth as we literally fly through the sky and smash through castle windows.
The decision to convert the film into 3D was met with mixed reviews from critics who said it would spoil a film which didn’t need it. To some extent this is true, there is a definite lack of focus throughout the film as the eye tries to focus on too many things at once, but it is far from the worst 3D conversion I’ve seen.
Performance wise, everyone has upped their game. The main trio have developed strong bonds with each other in real life and this really shows in the film as they battle against near certain death to protect one another. Daniel Radcliffe (Harry) is perhaps the weakest of the three in this film with Emma Watson (Hermione) and Rupert Grint (Ron) tied in first place. Their quiet demeanour is excitingly suffocating and brings a sense of claustrophobia to the film.
Of our veteran stars, Maggie Smith and Alan Rickman who play Professor McGonnagall and new headmaster Severus Snape are by far the standouts in a cast which are given a much greater chance to shine in this film. For a woman of Smiths age (76), she is exceptional and her performance really shows why Chris Columbus thought she would be perfect for the role all those years ago. Alan Rickman has been a favourite throughout the series and hasn’t let Potter fans down here, his final scenes are heart-breaking and worthy of a few tears.
Most of the other favourites make a welcome return, though all of them feel like cardboard cutouts, because their speech is limited to a couple of lines. Jim Broadbent (Horace Slughorn), Emma Thompson (Sybil Trelawny), Miriam Margolyes (Pomona Sprout) all make cameos in the film which is both a lovely and disappointing sight to see.
Ralph Fiennes does a lot of shouting throughout the film as vicious enemy Lord Voldermort but he performs well and does the role justice.
The only real flaw in the characters is that many of them aren’t given enough screen time. Helena Bonham Carter’s fabulous Bellatrix Lestrange is unfortunately lost as the army of Death Eaters grows and many other brilliant characters are only seen, not heard. (David Thewlis – Remus Lupin is the most prominent example of this.)
Being just over two hours in length means that this film is by far the shortest of the bunch and this shows in its pacing. Unfortunately, cutting the running time to this length has meant that certain scenes feel a little disjointed and certain parts, which were gut-wrenching in the book aren’t given enough time to digest in the film, which is disappointing seeing as an extra 10 or 20 minutes would’ve improved things greatly.
The climatic battle of Hogwarts as it’s been titled is fabulous and the special effects come into their own here as giants, acromantulas, death eaters and students pit themselves against one another with terrifying results. It’s a real treat to behold.
Yates’ cinematography is superb and every single shot he uses is beautiful in its own way. In one particular scene, located in the never before seen boathouse at Hogwarts, Yates manages to get around the 12A certificate which has blighted the last 4 films by shooting through frosted glass. I won’t spoil the scene for you, but it’s an emotional part of the film.
Moreover, the limbo scenes between Harry and Dumbledore, which were a low point in the novel, have been pleasingly shortened so that enough time is given to the main storylines. Unfortunately, the much talked about epilogue is too short and is a slightly anti-climatic send off for a film franchise that has been around for 10 years.
Overall, Harry Potter gets the send-off he deserved in a film which returns the magic and sparkle lost as the movies got darker. Yates has crafted a beautifully shot movie which doesn’t forget the action packed nature of its source material. Coupled with brilliant special effects and excellent performances by everyone involved, it’s a winning formula all round. The Harry Potter film franchise may have had a few lapses and a couple of disappointing outings, but thankfully the Deathly Hallows has made sure it ends on a high note. It may finish here, but when it ends this well, it most certainly won’t be forgotten.
https://moviemetropolis.net/2011/07/18/harry-potter-the-deathly-hallows-part-2-2011/
David Yates has once again returned to helm the final instalment in the most profitable movie franchise in history and whilst he has created a near perfect film technically, it falls down on a few points like a lack of character development and overly rushed script.
Deathly Hallows Part 2 picks up immediately from the 1st chapter with a quick reminder of what preceded it. This is a welcome start as the film feels a little disjointed in parts and if you’re not a loyal Harry Potter fan; chances are you won’t understand what’s going on.
Voldermort is gaining power as Harry, Ron and Hermione search for the missing horcruxes in order to destroy them and cripple the fearsome villain. Their travels bring them back to where it all started; Hogwarts school of witchcraft and wizardy; which has changed since we saw it last. Hogwarts has been rendered fabulously and is perhaps the best use of the 3D technology in the entire film. The sweeping shots of the lush, yet foreboding landscape surrounding the iconic castle are given new depth as we literally fly through the sky and smash through castle windows.
The decision to convert the film into 3D was met with mixed reviews from critics who said it would spoil a film which didn’t need it. To some extent this is true, there is a definite lack of focus throughout the film as the eye tries to focus on too many things at once, but it is far from the worst 3D conversion I’ve seen.
Performance wise, everyone has upped their game. The main trio have developed strong bonds with each other in real life and this really shows in the film as they battle against near certain death to protect one another. Daniel Radcliffe (Harry) is perhaps the weakest of the three in this film with Emma Watson (Hermione) and Rupert Grint (Ron) tied in first place. Their quiet demeanour is excitingly suffocating and brings a sense of claustrophobia to the film.
Of our veteran stars, Maggie Smith and Alan Rickman who play Professor McGonnagall and new headmaster Severus Snape are by far the standouts in a cast which are given a much greater chance to shine in this film. For a woman of Smiths age (76), she is exceptional and her performance really shows why Chris Columbus thought she would be perfect for the role all those years ago. Alan Rickman has been a favourite throughout the series and hasn’t let Potter fans down here, his final scenes are heart-breaking and worthy of a few tears.
Most of the other favourites make a welcome return, though all of them feel like cardboard cutouts, because their speech is limited to a couple of lines. Jim Broadbent (Horace Slughorn), Emma Thompson (Sybil Trelawny), Miriam Margolyes (Pomona Sprout) all make cameos in the film which is both a lovely and disappointing sight to see.
Ralph Fiennes does a lot of shouting throughout the film as vicious enemy Lord Voldermort but he performs well and does the role justice.
The only real flaw in the characters is that many of them aren’t given enough screen time. Helena Bonham Carter’s fabulous Bellatrix Lestrange is unfortunately lost as the army of Death Eaters grows and many other brilliant characters are only seen, not heard. (David Thewlis – Remus Lupin is the most prominent example of this.)
Being just over two hours in length means that this film is by far the shortest of the bunch and this shows in its pacing. Unfortunately, cutting the running time to this length has meant that certain scenes feel a little disjointed and certain parts, which were gut-wrenching in the book aren’t given enough time to digest in the film, which is disappointing seeing as an extra 10 or 20 minutes would’ve improved things greatly.
The climatic battle of Hogwarts as it’s been titled is fabulous and the special effects come into their own here as giants, acromantulas, death eaters and students pit themselves against one another with terrifying results. It’s a real treat to behold.
Yates’ cinematography is superb and every single shot he uses is beautiful in its own way. In one particular scene, located in the never before seen boathouse at Hogwarts, Yates manages to get around the 12A certificate which has blighted the last 4 films by shooting through frosted glass. I won’t spoil the scene for you, but it’s an emotional part of the film.
Moreover, the limbo scenes between Harry and Dumbledore, which were a low point in the novel, have been pleasingly shortened so that enough time is given to the main storylines. Unfortunately, the much talked about epilogue is too short and is a slightly anti-climatic send off for a film franchise that has been around for 10 years.
Overall, Harry Potter gets the send-off he deserved in a film which returns the magic and sparkle lost as the movies got darker. Yates has crafted a beautifully shot movie which doesn’t forget the action packed nature of its source material. Coupled with brilliant special effects and excellent performances by everyone involved, it’s a winning formula all round. The Harry Potter film franchise may have had a few lapses and a couple of disappointing outings, but thankfully the Deathly Hallows has made sure it ends on a high note. It may finish here, but when it ends this well, it most certainly won’t be forgotten.
https://moviemetropolis.net/2011/07/18/harry-potter-the-deathly-hallows-part-2-2011/
Kirk Bage (1775 KP) rated Black Mirror - Season 4 in TV
Mar 3, 2020
USS Callister - 7.5
A fascinatingly geeky episode, all else aside. Not only are there references to almost every significant sci-fi meme (in the true sociological sense of the word) you can think of, but there are also many links to past and even future Black Mirror episodes. It really is a spot the clever touch piece of the ensemble. Deceptively colourful and lively, this is a dark idea – taking identity theft to the next level and using stolen DNA to replicate and then trap a person in a virtual world where you are god. Jesse Plemons takes on two personas and has never been seen to such effect as in this rare lead role for him. Nominated for 8 Emmys and winning 4, the start to season four in late 2017 was a strong one, and a real indicator that the Universe of Black Mirror is all intrinsically linked. As I say, geek heaven! Points for spotting Kirsten Dunst in an unspoken cameo…
Arkangel - 6
Notable for the first big guest director credit of one Jodie Foster. This one moves from creepy idea to hard to swallow nonsense very quickly. Returning to the idea of brain implants and using the eyes of a person as a recorder than can be manipulated, the idea of aparent using such tech to protect a child is fine on the surface. But when you go deeper, it is impossible to imagine a parent stupid enough not to see the drawbacks and dangers of it, and fantastical to imagine the child not questioning it as they get older. Apart from a memorable moment of violence that works well in the context of the story, this episode largely doesn’t really work.
Crocodile - 7
An almost unrecognisable Andrea Riseborough is the best thing about this bleak thriller type episode, often compared to Scandi-dramas like The Bridge. It starts with a haunting accidental death and cover up scenario, progressing to a breakdown manifested in two very different ways. Once again, the tech on display is a machine not unlike the Voight-Kampf of Blade Runner, which can translate memory into images. The intrigue and tension are great, and when things really kick off, we find ourselves yelling “just stop” at our screens! Trouble is, the final twist undermines it all, by crossing the line of irony and into comedy. Memorable, but not in the top ten for me.
Hang the DJ - 8.5
Now, this one I really like! The unlikely chemistry of Joe Cole and Georgina Campbell, as two guinea pigs using an intense dating app in some vague dystopia, hits the right tone from the start and keeps you gripped. The basic idea being that the app tells you how long a couple can be together, before parting, whether they want to or not. The promise of the system being that in the end there is a 99.8% chance of finding your “perfect” partner. The empathy for the leads is huge by the time it comes to the inevitable conclusion that they must rebel to escape their fate and be together. What happens next: the simplicity, yet detail of the twist is absolute genius! Leaving you with a wry smile and a very strong lasting impression. Artistically, not he strongest; in terms of pure writing, one of the very best.
Metalhead - 7
Perhaps unfairly, this episode, shot in gorgeous black and white, is the lowest rated of all Black Mirror episodes on IMDb. David Slade, the man responsible for films such as Hard Candy and 30 Days of Night directs, and it is apparent this is going to be a minimal mood piece, with standard psychological horror elements. The most obvious comparison is The Terminator, but there is more going on than that. What I like about it is the ambiguity. How we got to this place and where “home” is and who is left there, are all left to our imagination, as we watch Maxine Peake struggle to survive against a machine that will not stop. I think many reject it out of hand because it is too vague and has little in the way of a clever twist. But, as a character study it works fine. Shorter than most, at 41 minutes, perhaps even that is a push, given the simple idea, which does have short film vibes pouring out of it. I can’t say I don’t like it though…
Black Museum - 8
A fitting end to season four was the trick of paying homage to old anthology horror movies of the 70s, where artifacts that link to dark stories are collected in one place and re-told by a perhaps sinister narrator. There are plenty of clever nods to recognisable props and images from earlier episodes, as well as new stuff that may have future significance, that,even more than USS Callister, this episode is basically one big Easter egg. Letitia Wright, best known from her role in Black Panther, to date, shows star quality in a tricky part that basically requires her to listen and wait patiently until the satisfying pay-off. The three linking tales of a doctor who becomes addicted to pain via an empathy implant; a dead mother whose soul is trapped in a childs toy forever; and a murderer condemned to relive his execution over and over for the gratification of paying customers – are all captivating within themselves, and fit into the macabre tongue in cheek vibe well. Thankfully, the climax does make it all gel and make sense, and we leave the season on a high, reflecting our own sense of “justice”.
A fascinatingly geeky episode, all else aside. Not only are there references to almost every significant sci-fi meme (in the true sociological sense of the word) you can think of, but there are also many links to past and even future Black Mirror episodes. It really is a spot the clever touch piece of the ensemble. Deceptively colourful and lively, this is a dark idea – taking identity theft to the next level and using stolen DNA to replicate and then trap a person in a virtual world where you are god. Jesse Plemons takes on two personas and has never been seen to such effect as in this rare lead role for him. Nominated for 8 Emmys and winning 4, the start to season four in late 2017 was a strong one, and a real indicator that the Universe of Black Mirror is all intrinsically linked. As I say, geek heaven! Points for spotting Kirsten Dunst in an unspoken cameo…
Arkangel - 6
Notable for the first big guest director credit of one Jodie Foster. This one moves from creepy idea to hard to swallow nonsense very quickly. Returning to the idea of brain implants and using the eyes of a person as a recorder than can be manipulated, the idea of aparent using such tech to protect a child is fine on the surface. But when you go deeper, it is impossible to imagine a parent stupid enough not to see the drawbacks and dangers of it, and fantastical to imagine the child not questioning it as they get older. Apart from a memorable moment of violence that works well in the context of the story, this episode largely doesn’t really work.
Crocodile - 7
An almost unrecognisable Andrea Riseborough is the best thing about this bleak thriller type episode, often compared to Scandi-dramas like The Bridge. It starts with a haunting accidental death and cover up scenario, progressing to a breakdown manifested in two very different ways. Once again, the tech on display is a machine not unlike the Voight-Kampf of Blade Runner, which can translate memory into images. The intrigue and tension are great, and when things really kick off, we find ourselves yelling “just stop” at our screens! Trouble is, the final twist undermines it all, by crossing the line of irony and into comedy. Memorable, but not in the top ten for me.
Hang the DJ - 8.5
Now, this one I really like! The unlikely chemistry of Joe Cole and Georgina Campbell, as two guinea pigs using an intense dating app in some vague dystopia, hits the right tone from the start and keeps you gripped. The basic idea being that the app tells you how long a couple can be together, before parting, whether they want to or not. The promise of the system being that in the end there is a 99.8% chance of finding your “perfect” partner. The empathy for the leads is huge by the time it comes to the inevitable conclusion that they must rebel to escape their fate and be together. What happens next: the simplicity, yet detail of the twist is absolute genius! Leaving you with a wry smile and a very strong lasting impression. Artistically, not he strongest; in terms of pure writing, one of the very best.
Metalhead - 7
Perhaps unfairly, this episode, shot in gorgeous black and white, is the lowest rated of all Black Mirror episodes on IMDb. David Slade, the man responsible for films such as Hard Candy and 30 Days of Night directs, and it is apparent this is going to be a minimal mood piece, with standard psychological horror elements. The most obvious comparison is The Terminator, but there is more going on than that. What I like about it is the ambiguity. How we got to this place and where “home” is and who is left there, are all left to our imagination, as we watch Maxine Peake struggle to survive against a machine that will not stop. I think many reject it out of hand because it is too vague and has little in the way of a clever twist. But, as a character study it works fine. Shorter than most, at 41 minutes, perhaps even that is a push, given the simple idea, which does have short film vibes pouring out of it. I can’t say I don’t like it though…
Black Museum - 8
A fitting end to season four was the trick of paying homage to old anthology horror movies of the 70s, where artifacts that link to dark stories are collected in one place and re-told by a perhaps sinister narrator. There are plenty of clever nods to recognisable props and images from earlier episodes, as well as new stuff that may have future significance, that,even more than USS Callister, this episode is basically one big Easter egg. Letitia Wright, best known from her role in Black Panther, to date, shows star quality in a tricky part that basically requires her to listen and wait patiently until the satisfying pay-off. The three linking tales of a doctor who becomes addicted to pain via an empathy implant; a dead mother whose soul is trapped in a childs toy forever; and a murderer condemned to relive his execution over and over for the gratification of paying customers – are all captivating within themselves, and fit into the macabre tongue in cheek vibe well. Thankfully, the climax does make it all gel and make sense, and we leave the season on a high, reflecting our own sense of “justice”.
Emma @ The Movies (1786 KP) rated They Shall Not Grow Old (2018) in Movies
Sep 25, 2019
This is an interesting piece. Originally commissioned for a 30 minute documentary piece, Peter Jackson found so much footage and so many stories to tell that he managed to extend it into a feature length production.
I'm going to skip over most of the massive fiasco that was Cineworld's handling of the screening. The issue came from them under estimating how popular it would be. With people interested in history and people interested in the processes used that meant a lot of viewers and unsurprisingly they sold out the small screen and had to move it to a bigger screen. So many people turned up that there were even seats allocated in the first five rows which never normally happens.
The footage and narrative that were put together for this were excellent. Things that never occurred to me before were brought to the screen with a lightheartedness and humour that off-set the horrors of war. For example, it had never occurred to me how soldiers in the field dealt with the toilet situation. Holes in the ground are the obvious conclusion, but I had never seen the images of the giant hole with a log suspended over it where you'd all hang out (literally) to get some relief.
The technical side of films are not something I know a great deal about, but the basics were explained in the Q&A afterward. Old film runs at a different frame rate to new film. (Yes, I know anyone with the technical knowledge is screaming in pain at my description here but you'll have to deal with it!) So all the film had to be lengthened to be used. This meant feeding it into a computer that would extrapolate the missing frames to make everything work. The quality was then enhanced and colourised.
When the film itself is presented it starts in black and white and changes to colour soon after. That moment brought goosebumps. Footage like you've never seen before, AND on the big screen. It made an amazing impact.
The voice overs during the film were all cast to match the regional accents of the soldiers, which was an incredibly nice touch. As well as the voices all the sounds had to be recreated and honestly they fit so well you'd have assumed they were "live".
Here's where I get to my "however" moment.
It was interesting, the sound effects were brilliantly done, and bringing unseen footage to the big screen was a massive accomplishment, especially to do it in a sensitive way... however... I personally wasn't a fan of some of the film outside of the story it was telling.
As I mentioned, the production was only supposed to be 30 minutes long. I can understanding why they made it longer but as a "film" it did begin to drag. It perhaps would have benefited from being a short series as opposed to one long documentary.
Seeing it outside of this screening you would have also missed out on many of the fascinating facts that we discovered during the Q&A at the end. It's entirely possible that the sound effects would have gone completely unnoticed as they feel so realistic. Combining the Q&A style dialogue and the documentary would have been interesting and you would have been even more in awe of what they achieved.
This screening was presented in 3D. You by now will know I have mixed feelings about 3D. I don't think the effect in this instance really added anything to it. The impressive nature of the file footage was what the film needed to concentrate on.
On that point, and as previously mentioned, the archive footage had to be dubbed and they went to a lot of effort with casting and hiring lip readers to stay authentic, which was brilliant. But I also felt that the effort was diminished by the quality of the audio. Not that it was bad, but that is was in fact very good. The stories that were recounted over the footage was wonderfully done. My issue was with the lip-synced scripts. The audio track was a stark contrast to the footage. Restoration can't change the fact that the footage is old and still grainy. Having a modern, perfectly clear track over the top didn't make it feel real. I can't help but think that those sections would have been improved if the audio had been "aged" to match with what we were seeing.
Lastly I come to what I realise is in essence most of the documentary. The restoration. During the showing in close up footage the faces of the soldiers seemed to distort as they moved. I imagine that this is the computer generated frames working with the actual footage. It became increasingly difficult not to notice this happening and I found it rather off putting. The colourisation felt strange at times, perhaps because I expect war to appear more drab because of the way cinema usually portrays it. That wasn't something I found to be constant though, some blended in while watching and just a few frames stood out. There's no denying its initial impact though, that transition was possibly the most effective bit of the whole production.
What you should do
I know I've been critical of a lot of things there and I've only given it 3 stars but you should definitely see They Shall Not Grow Old. The story it tells is undeniably incredible and important. If I was only judging the documentary on its own I would have given this 5 stars.
I'm going to skip over most of the massive fiasco that was Cineworld's handling of the screening. The issue came from them under estimating how popular it would be. With people interested in history and people interested in the processes used that meant a lot of viewers and unsurprisingly they sold out the small screen and had to move it to a bigger screen. So many people turned up that there were even seats allocated in the first five rows which never normally happens.
The footage and narrative that were put together for this were excellent. Things that never occurred to me before were brought to the screen with a lightheartedness and humour that off-set the horrors of war. For example, it had never occurred to me how soldiers in the field dealt with the toilet situation. Holes in the ground are the obvious conclusion, but I had never seen the images of the giant hole with a log suspended over it where you'd all hang out (literally) to get some relief.
The technical side of films are not something I know a great deal about, but the basics were explained in the Q&A afterward. Old film runs at a different frame rate to new film. (Yes, I know anyone with the technical knowledge is screaming in pain at my description here but you'll have to deal with it!) So all the film had to be lengthened to be used. This meant feeding it into a computer that would extrapolate the missing frames to make everything work. The quality was then enhanced and colourised.
When the film itself is presented it starts in black and white and changes to colour soon after. That moment brought goosebumps. Footage like you've never seen before, AND on the big screen. It made an amazing impact.
The voice overs during the film were all cast to match the regional accents of the soldiers, which was an incredibly nice touch. As well as the voices all the sounds had to be recreated and honestly they fit so well you'd have assumed they were "live".
Here's where I get to my "however" moment.
It was interesting, the sound effects were brilliantly done, and bringing unseen footage to the big screen was a massive accomplishment, especially to do it in a sensitive way... however... I personally wasn't a fan of some of the film outside of the story it was telling.
As I mentioned, the production was only supposed to be 30 minutes long. I can understanding why they made it longer but as a "film" it did begin to drag. It perhaps would have benefited from being a short series as opposed to one long documentary.
Seeing it outside of this screening you would have also missed out on many of the fascinating facts that we discovered during the Q&A at the end. It's entirely possible that the sound effects would have gone completely unnoticed as they feel so realistic. Combining the Q&A style dialogue and the documentary would have been interesting and you would have been even more in awe of what they achieved.
This screening was presented in 3D. You by now will know I have mixed feelings about 3D. I don't think the effect in this instance really added anything to it. The impressive nature of the file footage was what the film needed to concentrate on.
On that point, and as previously mentioned, the archive footage had to be dubbed and they went to a lot of effort with casting and hiring lip readers to stay authentic, which was brilliant. But I also felt that the effort was diminished by the quality of the audio. Not that it was bad, but that is was in fact very good. The stories that were recounted over the footage was wonderfully done. My issue was with the lip-synced scripts. The audio track was a stark contrast to the footage. Restoration can't change the fact that the footage is old and still grainy. Having a modern, perfectly clear track over the top didn't make it feel real. I can't help but think that those sections would have been improved if the audio had been "aged" to match with what we were seeing.
Lastly I come to what I realise is in essence most of the documentary. The restoration. During the showing in close up footage the faces of the soldiers seemed to distort as they moved. I imagine that this is the computer generated frames working with the actual footage. It became increasingly difficult not to notice this happening and I found it rather off putting. The colourisation felt strange at times, perhaps because I expect war to appear more drab because of the way cinema usually portrays it. That wasn't something I found to be constant though, some blended in while watching and just a few frames stood out. There's no denying its initial impact though, that transition was possibly the most effective bit of the whole production.
What you should do
I know I've been critical of a lot of things there and I've only given it 3 stars but you should definitely see They Shall Not Grow Old. The story it tells is undeniably incredible and important. If I was only judging the documentary on its own I would have given this 5 stars.