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colin... (64 KP) rated Little Women (2019) in Movies
Sep 30, 2020
Instead of giving a review for this film, which was great, I figured I'd give you all the message I wrote to my girlfriend after I finished the movie, to convey my emotional state and feelings.
I often wonder if they'll create a word in my lifetime that will be able to describe how wonderful you are. I feel like even an attempt would be fruitless, but that doesn't stop me from contemplating it. There are so many things that I need to tell you, so many sights that I need to see with you, so many mistakes that I need to make with you. Giving someone their all is proven to be one of the most difficult things for the human psyche to endure, yet everyday that is all that I wish to do. Whenever I see you, I feel as if I have burst through the surface of water and emerged to take a long exhale. You are my breath. When I see you, time slows and becomes my puppet. I treat it as I please and spin it in a way that maximizes the amount of living that I can achieve with you in the span we are given. I never labeled myself as a person of curiosity, yet you never fail to leave me on the edge of my seat during conversations. I am silent because I am anticipating every word that comes out of your mouth. I crave the tales you relay to me over dinner. I worry that at any moment someone will snap their fingers and it will break me from the allure of the trance you have entangled me in, or worse yet, I'll wake up in a cold sweat alone on a love seat somewhere i cannot remember. That's how delicate the beauty of your words are. Your eyes could pierce my heart in an instant and your smile could throw me into a catatonic state. It's not your attractiveness that does it, although you always look stunning, it's the stories behind your eyes and smile that do it for me. I know the wear and tear that constructs every one of those smiles and glances, which makes them even more vulnerable and valuable. Comparatively, I am but a meek and mere boy observing the greatness of one of the strongest and most determined women on Earth. And I couldn't be happier doing anything else but that.
I often wonder if they'll create a word in my lifetime that will be able to describe how wonderful you are. I feel like even an attempt would be fruitless, but that doesn't stop me from contemplating it. There are so many things that I need to tell you, so many sights that I need to see with you, so many mistakes that I need to make with you. Giving someone their all is proven to be one of the most difficult things for the human psyche to endure, yet everyday that is all that I wish to do. Whenever I see you, I feel as if I have burst through the surface of water and emerged to take a long exhale. You are my breath. When I see you, time slows and becomes my puppet. I treat it as I please and spin it in a way that maximizes the amount of living that I can achieve with you in the span we are given. I never labeled myself as a person of curiosity, yet you never fail to leave me on the edge of my seat during conversations. I am silent because I am anticipating every word that comes out of your mouth. I crave the tales you relay to me over dinner. I worry that at any moment someone will snap their fingers and it will break me from the allure of the trance you have entangled me in, or worse yet, I'll wake up in a cold sweat alone on a love seat somewhere i cannot remember. That's how delicate the beauty of your words are. Your eyes could pierce my heart in an instant and your smile could throw me into a catatonic state. It's not your attractiveness that does it, although you always look stunning, it's the stories behind your eyes and smile that do it for me. I know the wear and tear that constructs every one of those smiles and glances, which makes them even more vulnerable and valuable. Comparatively, I am but a meek and mere boy observing the greatness of one of the strongest and most determined women on Earth. And I couldn't be happier doing anything else but that.
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Jared: Challenging the status quo in Hollywood doesn’t make me the most popular director in...
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BankofMarquis (1832 KP) rated Killers of the Flower moon (2023) in Movies
Oct 27, 2023
Best Thing Scorses (and DeNiro) have done in many, many years
The BankofMarquis would highly recommend you see the latest epic (and we do mean EPIC) film from famed Director Martin Scorsese in a movie theater. Not because of the beautiful Cinematography by Rodrigo Prieto, not because of the Epic-ness of the tale told and not because movie theaters could use your business (all of which are reasons to see it in the movie theaters). You need to see KILLERS OF THE FLOWER MOON in a movie theater so that you cannot be distracted by things around you (most, notably your PHONE). One needs to immerse themselves in the experience of this 3 1/2 movie to totally understand and appreciate it.
And that is because KILLERS OF THE FLOWER MOON is as much atmosphere, mood and setting as it is story. Early on, one of the characters warns another one that the Osage people (the central group in this story) “don’t say much, listen more and let long pauses hang between words” and Scorsese does much of the same. Letting the story hang - and be told in - the silence between the words. And it works…if you are paying attention.
Starring Scorsese regulars Leonardo DiCaprio and Robert DeNiro and featuring a wonderful, soon-to-be-Oscar-Nominated performance by newcomer Lily Gladstone, KILLERS OF THE FLOWER MOON is based on the novel of the same name by David Gann and tells the tale of the Osage Nation who discover oil on their land in the 1920’s and the white men who come to try to connive and steal it away from them.
Taken on the surface, this story could be a pretty straight-forward white-man steals from the Indians story (substitute Buffalo for Oil and we have a story told so many times before - most notably in the Oscar winning movie DANCING WITH WOLVES), but in the hands of master craftsman Scorsese, this movie is much, much more than that.
Easily his best work in at least 10 years, Scorsese lets this story breathe and focuses in on the mood and atmosphere of the period - and the disparate people that inhabit…and battle for…this land and oil. It is the work of a maestro nearing the end of his tenure, skillfully conducting the Orchestra, one last, loving, magnificent time.
Like Scorsese, this is Oscar winner Robert DeNiro’s best performance in years and will not be surprised if he garners his first Oscar nomination in many, many years. Gone are the histrionics and over-the-top gestures and facial ticks that mar his comedic work (and in some cases his non-comedic work). DeNiro returns to the compact, internal “method” acting that was the hallmark of his early (best) work. You can see that this player still has “game” and he gives the role of William “King” Hale some dimension. This is good for this character could have, in lesser hands, turned into a “mustache-twirling” villain tying the heroine to the railroad tracks but in DeNiro’s capable hands (with Scorsese skillfully leading him) it is so much more.
Speaking of the Heroine, newcomer Lily Gladstone is just a strong and compact in her portrayal of Mollie Burkhart - the Osage woman in the center of the story. She gives Lily some sharp edges along with the rounded corners she is given in the script and the story and more than holds her own with the likes of DeNiro and DiCaprio in the many, many scenes she has with them. Most of the time, she needs to express quite a bit with a look or silence (while looking away) and she is able to convey that very, very well.
Fairing less well in this film is Leonardo DiCaprio as Ernest Burkhart, the sad-sack that is the pawn of “King” Hale and the love interest of Lily…or is he? DiCaprio is very good as Burkhart (when has he ever given a bad performance) but this character is thinly written and you can almost see the puppet strings on him. This, probably, is on purpose by Scorsese…but against two solid characters like DeNiro’s “King” Hale and Gladstone’s Molly, there just needed to be a bit more to DiCaprio’s character to make him more interesting.
Since this is a Scorsese film, it is fleshed out by some wonderful character actors led by the always watchable Jesse Plemons as the FBI agent sent to unpack what is going on. Joining him in what are (essentially) extended cameos are John Lithgow, newly minted Oscar winner Brendan Fraser, the always good Tantoo Cardinal, Scott Shepherd (as Leo’s brother) and a myriad of “that guy” and “interesting looking roughnecks” to flesh the feel of the film out - both on the white man as well as the Osage sides of the story.
The aforementioned Cinematography by Rodrigo Prieto along with the Costuming (Jacqueline West), Production Design (Jack Fisk) and Score (Robbie Peterson) all add to the mood of the piece and makes it very successful, indeed.
Just be forewarned, it is as every bit of 3 1/2 hours as it’s runtime dictates. There will be long, slow, silent parts that will make you tempted to pick up your phone - but resist that and enjoy the epic mood piece that is KILLERS OF THE FLOWER MOON. You won’t regret it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis).
And that is because KILLERS OF THE FLOWER MOON is as much atmosphere, mood and setting as it is story. Early on, one of the characters warns another one that the Osage people (the central group in this story) “don’t say much, listen more and let long pauses hang between words” and Scorsese does much of the same. Letting the story hang - and be told in - the silence between the words. And it works…if you are paying attention.
Starring Scorsese regulars Leonardo DiCaprio and Robert DeNiro and featuring a wonderful, soon-to-be-Oscar-Nominated performance by newcomer Lily Gladstone, KILLERS OF THE FLOWER MOON is based on the novel of the same name by David Gann and tells the tale of the Osage Nation who discover oil on their land in the 1920’s and the white men who come to try to connive and steal it away from them.
Taken on the surface, this story could be a pretty straight-forward white-man steals from the Indians story (substitute Buffalo for Oil and we have a story told so many times before - most notably in the Oscar winning movie DANCING WITH WOLVES), but in the hands of master craftsman Scorsese, this movie is much, much more than that.
Easily his best work in at least 10 years, Scorsese lets this story breathe and focuses in on the mood and atmosphere of the period - and the disparate people that inhabit…and battle for…this land and oil. It is the work of a maestro nearing the end of his tenure, skillfully conducting the Orchestra, one last, loving, magnificent time.
Like Scorsese, this is Oscar winner Robert DeNiro’s best performance in years and will not be surprised if he garners his first Oscar nomination in many, many years. Gone are the histrionics and over-the-top gestures and facial ticks that mar his comedic work (and in some cases his non-comedic work). DeNiro returns to the compact, internal “method” acting that was the hallmark of his early (best) work. You can see that this player still has “game” and he gives the role of William “King” Hale some dimension. This is good for this character could have, in lesser hands, turned into a “mustache-twirling” villain tying the heroine to the railroad tracks but in DeNiro’s capable hands (with Scorsese skillfully leading him) it is so much more.
Speaking of the Heroine, newcomer Lily Gladstone is just a strong and compact in her portrayal of Mollie Burkhart - the Osage woman in the center of the story. She gives Lily some sharp edges along with the rounded corners she is given in the script and the story and more than holds her own with the likes of DeNiro and DiCaprio in the many, many scenes she has with them. Most of the time, she needs to express quite a bit with a look or silence (while looking away) and she is able to convey that very, very well.
Fairing less well in this film is Leonardo DiCaprio as Ernest Burkhart, the sad-sack that is the pawn of “King” Hale and the love interest of Lily…or is he? DiCaprio is very good as Burkhart (when has he ever given a bad performance) but this character is thinly written and you can almost see the puppet strings on him. This, probably, is on purpose by Scorsese…but against two solid characters like DeNiro’s “King” Hale and Gladstone’s Molly, there just needed to be a bit more to DiCaprio’s character to make him more interesting.
Since this is a Scorsese film, it is fleshed out by some wonderful character actors led by the always watchable Jesse Plemons as the FBI agent sent to unpack what is going on. Joining him in what are (essentially) extended cameos are John Lithgow, newly minted Oscar winner Brendan Fraser, the always good Tantoo Cardinal, Scott Shepherd (as Leo’s brother) and a myriad of “that guy” and “interesting looking roughnecks” to flesh the feel of the film out - both on the white man as well as the Osage sides of the story.
The aforementioned Cinematography by Rodrigo Prieto along with the Costuming (Jacqueline West), Production Design (Jack Fisk) and Score (Robbie Peterson) all add to the mood of the piece and makes it very successful, indeed.
Just be forewarned, it is as every bit of 3 1/2 hours as it’s runtime dictates. There will be long, slow, silent parts that will make you tempted to pick up your phone - but resist that and enjoy the epic mood piece that is KILLERS OF THE FLOWER MOON. You won’t regret it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis).
Bob Mann (459 KP) rated Nobody (2021) in Movies
Jun 9, 2021
Bob Odenkirk (1 more)
A fun, adrenaline-fuelled script
What Kevin McAllister did once all grown up
The "Nobody" in question is Hutch Mansell (Bob Odenkirk) who lives a humdrum suburban life: a 9-to-5 managerial job at his in-laws manufacturing plant; distant wife (Connie Nielsen); two kids, Blake (Gage Munroe) and Abby (Paisley Cadorath); an elderly father (Christopher Lloyd) in a local care home. Basically, the Mansell's are all living the American dream, but all subject to the monotonous grind of that daily life for week after week. That all changes in the middle of the night after Hutch confronts two bungling burglars and - in the full gaze of his son - 'wimps out' on taking action. All the silent rage and embarrassment has to go somewhere, and it does - on a late night bus ride; an event that sets off a sequence of increasingly bloody encounters!
Positives:
- Bob Odenkirk is charismatically dull! His character could be compared with that of Christian Wolff in 2016's "The Accountant". But in that movie, Ben Affleck was just dull dull! Here Odenkirk brings his character to life in a truly wonderful and sparkly way.
- The movie is a hyper-violent but adrenaline-fuelled joy ride. There's a slight lull after the initial burglary, but then it's a downhill bobsleigh ride with no brakes from there to the end. It comes as no surprise that the writer, Derek Kolstad, is the guy behind the John Wick franchise. The script has moments of black comedy that made me laugh out loud a good few times.
- The editing here (by Evan Schiff and William Yeh) is very slick indeed, most noticeably so in the many fight scenes. The one on the bus could be pulled apart as a template for a film school lesson.
Negatives:
- I've very little to add here. Yes, it's a rather shallow story, but I found it a hugely entertaining rush of a movie. However the intensity of the violence will not be for everyone. The lady a few seats along from me had her hands over her eyes for at least 75% of the movie I reckon.
- I wasn't clear where the character played by RZA fitted into the mix. Having (post film) seen the cast list, I'm even more confused!
Additional notes:
- There is a post credit scene in this one, shortly into the end credits, so don't dive for the doors too quickly if you want to see it. That being said, it doesn't really make much sense (why are they doing this?) and it isn't particularly funny either. So if you did miss it, then don't sweat about it!
- This is a movie that I knew virtually nothing about on going into it. Which is the best way to see it. As such, it's worth NOT watching the trailer, and going in on that basis if you can.
Summary Thoughts on "Nobody": It's a pretty shallow plot.... but it's also bloody good fun! I expected this to follow the well worn road of classic "revenge" movies - like "Death Wish" or "Taken" - but was pleasantly surprised that it didn't. A better comparison might be Michael Douglas's "Falling Down", but with the central character having more heart.
There are lots of nods to sequences from other movies in here: "Home Alone" (for obvious reasons!); "Patriot Games" and "The Equalizer" came to my mind. And the finale reminded me strongly of the anarchic chaos of 2016's "Free Fire".
Intellectual it ain't. But provided you can stomach the Tom and Jerry style violence, and suspend your belief at the punishment Hutch can take without hospital treatment, then "Nobody" ticks all the boxes for a fun night out at the flicks.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/06/09/nobody-what-kevin-mcallister-did-once-all-grown-up/. There's also a new Tiktok channel at onemannsmovies. Thanks).
Positives:
- Bob Odenkirk is charismatically dull! His character could be compared with that of Christian Wolff in 2016's "The Accountant". But in that movie, Ben Affleck was just dull dull! Here Odenkirk brings his character to life in a truly wonderful and sparkly way.
- The movie is a hyper-violent but adrenaline-fuelled joy ride. There's a slight lull after the initial burglary, but then it's a downhill bobsleigh ride with no brakes from there to the end. It comes as no surprise that the writer, Derek Kolstad, is the guy behind the John Wick franchise. The script has moments of black comedy that made me laugh out loud a good few times.
- The editing here (by Evan Schiff and William Yeh) is very slick indeed, most noticeably so in the many fight scenes. The one on the bus could be pulled apart as a template for a film school lesson.
Negatives:
- I've very little to add here. Yes, it's a rather shallow story, but I found it a hugely entertaining rush of a movie. However the intensity of the violence will not be for everyone. The lady a few seats along from me had her hands over her eyes for at least 75% of the movie I reckon.
- I wasn't clear where the character played by RZA fitted into the mix. Having (post film) seen the cast list, I'm even more confused!
Additional notes:
- There is a post credit scene in this one, shortly into the end credits, so don't dive for the doors too quickly if you want to see it. That being said, it doesn't really make much sense (why are they doing this?) and it isn't particularly funny either. So if you did miss it, then don't sweat about it!
- This is a movie that I knew virtually nothing about on going into it. Which is the best way to see it. As such, it's worth NOT watching the trailer, and going in on that basis if you can.
Summary Thoughts on "Nobody": It's a pretty shallow plot.... but it's also bloody good fun! I expected this to follow the well worn road of classic "revenge" movies - like "Death Wish" or "Taken" - but was pleasantly surprised that it didn't. A better comparison might be Michael Douglas's "Falling Down", but with the central character having more heart.
There are lots of nods to sequences from other movies in here: "Home Alone" (for obvious reasons!); "Patriot Games" and "The Equalizer" came to my mind. And the finale reminded me strongly of the anarchic chaos of 2016's "Free Fire".
Intellectual it ain't. But provided you can stomach the Tom and Jerry style violence, and suspend your belief at the punishment Hutch can take without hospital treatment, then "Nobody" ticks all the boxes for a fun night out at the flicks.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/06/09/nobody-what-kevin-mcallister-did-once-all-grown-up/. There's also a new Tiktok channel at onemannsmovies. Thanks).
RəX Regent (349 KP) rated Ben-Hur (2016) in Movies
Feb 20, 2019
Who thought it was a good idea to remake Ben-Hur? Well, on paper, it would seem to be a possibility. Ben-Hur has been hitting our cinema screens since 1907, with three other theatrical versions before this one; a short silent effort in 1907, the 1925 silent epic and the blockbusting MGM epic from 1959.
But this follows stage plays, TV movies and even animated movies, all based on General Lee Wallace's 1880 novel of the same name. But if a comparison is to be made, let us focus on the 1959 Charlton Heston movie. That, which ran for over three and half hours, takes its time to establish characters and situations, then takes us on a journey across the Roman Empire as we follow the turmoil of Judah Ben-Hur, betrayed by his best friend, a Roman who he considered to be a brother.
This journey takes place and parallels the life and ultimate execution of Jesus Christ and with this parallel, Judah is gradually inspired to temper his vengeance against his friend turned enemy and after the famous chariot race and the hollow victory therein, he will witness the crucifixion and through several machinations, find solace in the fledgling Christian movement.
So, how does this version hold up? To the 1959 version; not very well. This two-hour action movie is centred around the chariot race from start to finish, something which happens in the second act of the 1959 version but this is NOT the conclusion, but a catalyst for the finale.
Here, even though the events play out in a similar fashion, they are rushed and none of the character moments are earned. It is as if the film was pitched soley on the concept of showing an action packed chariot race in the 21st century.
If you want to see a modern interpretation of this race, possibly cinema's greatest such sequence, then look at Star Wars: Episode I's Podrace which captures the spirit perfectly. The positioning of this race and its significance to the plot was the same in the 1925 version as well, yet the fifteen minute 1907 short pretty much cherry picked the same plot elements as this 2016 version, which is quite telling really.
There was little interest in the story, just a cynical desire to bring this iconic movie back to the big screen and milk it as they would any franchise. But Ben-Hur is a poisoned chalice, so iconic that it would have to have offered something new without losing the original feel to succeed, as this classic simply did not warrant a remake.
But if you are going to remake it, give it a mega budget, which they did not, an all star cast, again, not the case and bring on board a top director to lead this project.
Instead we have a cast of relative unknowns, with Morgan Freeman being the most notable cast member, the director of such movies as Wanted (2007) and a small budget of just $100,000,000, when a blockbuster these days is usually pushing $200,000,000.
The main selling point for the previous two Ben-Hurs was the scale. These were epics and pushed the technology, filmmaking styles and never shied away from the strong religious overtones. Here it looks like it is given little more than lip service hoping to pander to the religious right.
It failed. Darren Aronofsky's Noah (2013) made more of an impact and it divided audiences, but at least it was faithful to itself, pushed boundaries and left its mark on cinema.
But by the end, my jaw was literally on the floor as the maimed Massalia reconciled with Judah and the pair ride off into the sunset together, all forgiven....
WHAT!!!
And more importantly, what was the point? Jesus sacrified himself, (in the story) so that people like Judah would put down their swords and learn to forgive, yet in the end, Judah and Massalia sacrifice nothing as they both regain their friendship and live happily ever after. In the previous versions, Ben-Hur beat Massalia but he has the last laugh as his mother and sister have been left with leprosy, that is until Jesus' death sparks a miracle which cures them. This was his reward for seeing the error of his ways, not getting his family and his friend back.
In the end, this is not a bad action romp, very watchable and is an entertaining spectacle but ultimately forgettable. It will entertain for two hours but leaves you with nothing to think about, unlike the books, plays and films which have preceded this.
A real shame...
But this follows stage plays, TV movies and even animated movies, all based on General Lee Wallace's 1880 novel of the same name. But if a comparison is to be made, let us focus on the 1959 Charlton Heston movie. That, which ran for over three and half hours, takes its time to establish characters and situations, then takes us on a journey across the Roman Empire as we follow the turmoil of Judah Ben-Hur, betrayed by his best friend, a Roman who he considered to be a brother.
This journey takes place and parallels the life and ultimate execution of Jesus Christ and with this parallel, Judah is gradually inspired to temper his vengeance against his friend turned enemy and after the famous chariot race and the hollow victory therein, he will witness the crucifixion and through several machinations, find solace in the fledgling Christian movement.
So, how does this version hold up? To the 1959 version; not very well. This two-hour action movie is centred around the chariot race from start to finish, something which happens in the second act of the 1959 version but this is NOT the conclusion, but a catalyst for the finale.
Here, even though the events play out in a similar fashion, they are rushed and none of the character moments are earned. It is as if the film was pitched soley on the concept of showing an action packed chariot race in the 21st century.
If you want to see a modern interpretation of this race, possibly cinema's greatest such sequence, then look at Star Wars: Episode I's Podrace which captures the spirit perfectly. The positioning of this race and its significance to the plot was the same in the 1925 version as well, yet the fifteen minute 1907 short pretty much cherry picked the same plot elements as this 2016 version, which is quite telling really.
There was little interest in the story, just a cynical desire to bring this iconic movie back to the big screen and milk it as they would any franchise. But Ben-Hur is a poisoned chalice, so iconic that it would have to have offered something new without losing the original feel to succeed, as this classic simply did not warrant a remake.
But if you are going to remake it, give it a mega budget, which they did not, an all star cast, again, not the case and bring on board a top director to lead this project.
Instead we have a cast of relative unknowns, with Morgan Freeman being the most notable cast member, the director of such movies as Wanted (2007) and a small budget of just $100,000,000, when a blockbuster these days is usually pushing $200,000,000.
The main selling point for the previous two Ben-Hurs was the scale. These were epics and pushed the technology, filmmaking styles and never shied away from the strong religious overtones. Here it looks like it is given little more than lip service hoping to pander to the religious right.
It failed. Darren Aronofsky's Noah (2013) made more of an impact and it divided audiences, but at least it was faithful to itself, pushed boundaries and left its mark on cinema.
But by the end, my jaw was literally on the floor as the maimed Massalia reconciled with Judah and the pair ride off into the sunset together, all forgiven....
WHAT!!!
And more importantly, what was the point? Jesus sacrified himself, (in the story) so that people like Judah would put down their swords and learn to forgive, yet in the end, Judah and Massalia sacrifice nothing as they both regain their friendship and live happily ever after. In the previous versions, Ben-Hur beat Massalia but he has the last laugh as his mother and sister have been left with leprosy, that is until Jesus' death sparks a miracle which cures them. This was his reward for seeing the error of his ways, not getting his family and his friend back.
In the end, this is not a bad action romp, very watchable and is an entertaining spectacle but ultimately forgettable. It will entertain for two hours but leaves you with nothing to think about, unlike the books, plays and films which have preceded this.
A real shame...
Emma @ The Movies (1786 KP) rated Godzilla: King of the Monsters (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
Five years after Godzilla saved us from the MUTO attack the world (or some of it at least) wants to see an end to the potential threat of the Titans. Monarch are studying them and hiding them away from the world, but there are calls to destroy the monsters before more devastation befalls the planet?
Dr Emma Russell has developed the Orca, a device that communicates with the Titans and can be used to calm them and stop any further destruction. Not everyone has the same idea about how to use the Orca though and it's taken, along with Dr Russell and her daughter Madison, after its successful test run. The race is on to recover the device and avert the impending crisis.
Godzilla is one of my favourite monsters. For years the 1998 film with Matthew Broderick and Jean Reno in it was one of my favourite films. I also love the "proper" Godzilla movies where they destroy Tokyo at every given opportunity. To have new films felt like a wonderful thing... until I saw 2014 Godzilla. I rewatched it before going to see King Of The Monsters and I remembered how underwhelmed I was. The characters didn't grab me and I found the whole thing uninspiring. The prospect of a second wasn't great, but then I saw the trailers, they were spectacular.
I really enjoyed this and went to see it again in 3D, a much more peaceful screening than the first viewing. The girl who was sitting a couple of seats away was animatedly jumping at every opportunity, her reaction was far scarier than anything that happened on the screen.
This was much improved on the last instalment. I loved that it embraced the original films and the fact that it switched its focus more to the monsters than the humans. You go to a monster movie to see monsters, and Godzilla 2014 felt like it had forgotten that fact.
If I had to describe this film to someone I'd say it was a combination of Infinity War and Jurassic Park, just with slightly larger monsters... yep, I'm fairly happy with that comparison. I may have been imagining it but I felt like there were a few nods to JP jumbled in there... maybe that's just me.
There's a collection of recognisable faces in the cast and I don't think there's a single person who underperforms. I thought that Millie Bobby Brown gave a great performance as Madison, she managed to give us a child character that wasn't particularly annoying, which may actually be a first in creature features.
Charles Dance makes an excellent bad guy, there's something about his look, a cross between a vampire and the restaurant critic from Ratatouille that works for me. He also gets to have a great moment of silent humour with Brown when they're in a lift together, it was very unexpected for their potential on-screen relationship.
We get to see four of our Titans in this movie as main players. Godzilla, obvs, Mothra, Rodan and Monster Zero, or King Ghidorah to his friends. The sheer scale they've gone to is amazing, and I thought the way they were created with their individual traits was beautiful. The one drawback to the beautiful glowing monster bodies is that the scenes have to be fairly dark to appreciate that aspect. They manage to use those aspects of the creatures to give the extra lighting the scenes need meaning that you get something that's both dark and scary as well as light and hopeful. The colours were something that really stood out to me in the advertising, the lightness of the blue and green against the anger of the orange and yellow, it shows the good and evil relationship really well.
The size of the creatures is mad and sometimes a little impossible to gauge, we get a few moments where we're given some perspective with man-made structures but they do a good job of trying to get it across in basic visual techniques too. You see a lot of them from "human" angles, from the ground running, from buildings and vehicles. It feels like an exercise in shock and awe and takes you back to Dr Serizawa's point at the beginning of the film that we're Godzilla's pets, it's not the other way around.
The effects/animation looked solid, at no point did I see anything on-screen that drew my attention away from the action. One moment in particular stood out and that was a large explosion somewhere in the middle of the movie. It was given an old fashioned kind of a look and it gave me the impression that they'd really looked at things that had come before it for inspiration.
You have to obviously accept the facts that in these sorts of films, parents will willingly put their children in immense danger, bad guys will always have prepared a short video presentation to explain their motivations and just because there's destruction happening all around you does not mean you will die. It's got all the classic monster/disaster movie moments that you love to hate in it. "Movie Reality" is awesome.
If you couldn't already tell, I loved this. Much improvement from the last instalment and an entertaining action-packed addition to the monsterverse. Oscar winner? Probably not. Entertaining escapism? Most definitely. I am a little concerned about how the story will progress from here. They had plenty of scope for lots of movies after some of the things they showed in the film, but the events of KotM mean that there's little room to move with it all, we'll have to see what happens in Godzilla Vs Kong next year.
What you should do
This really deserves to be seen on the big screen. The sound and the effects combine to make some great viewing.
Movie thing you wish you could take home
If they could adapt the Orca for human use I'd be interested.
Dr Emma Russell has developed the Orca, a device that communicates with the Titans and can be used to calm them and stop any further destruction. Not everyone has the same idea about how to use the Orca though and it's taken, along with Dr Russell and her daughter Madison, after its successful test run. The race is on to recover the device and avert the impending crisis.
Godzilla is one of my favourite monsters. For years the 1998 film with Matthew Broderick and Jean Reno in it was one of my favourite films. I also love the "proper" Godzilla movies where they destroy Tokyo at every given opportunity. To have new films felt like a wonderful thing... until I saw 2014 Godzilla. I rewatched it before going to see King Of The Monsters and I remembered how underwhelmed I was. The characters didn't grab me and I found the whole thing uninspiring. The prospect of a second wasn't great, but then I saw the trailers, they were spectacular.
I really enjoyed this and went to see it again in 3D, a much more peaceful screening than the first viewing. The girl who was sitting a couple of seats away was animatedly jumping at every opportunity, her reaction was far scarier than anything that happened on the screen.
This was much improved on the last instalment. I loved that it embraced the original films and the fact that it switched its focus more to the monsters than the humans. You go to a monster movie to see monsters, and Godzilla 2014 felt like it had forgotten that fact.
If I had to describe this film to someone I'd say it was a combination of Infinity War and Jurassic Park, just with slightly larger monsters... yep, I'm fairly happy with that comparison. I may have been imagining it but I felt like there were a few nods to JP jumbled in there... maybe that's just me.
There's a collection of recognisable faces in the cast and I don't think there's a single person who underperforms. I thought that Millie Bobby Brown gave a great performance as Madison, she managed to give us a child character that wasn't particularly annoying, which may actually be a first in creature features.
Charles Dance makes an excellent bad guy, there's something about his look, a cross between a vampire and the restaurant critic from Ratatouille that works for me. He also gets to have a great moment of silent humour with Brown when they're in a lift together, it was very unexpected for their potential on-screen relationship.
We get to see four of our Titans in this movie as main players. Godzilla, obvs, Mothra, Rodan and Monster Zero, or King Ghidorah to his friends. The sheer scale they've gone to is amazing, and I thought the way they were created with their individual traits was beautiful. The one drawback to the beautiful glowing monster bodies is that the scenes have to be fairly dark to appreciate that aspect. They manage to use those aspects of the creatures to give the extra lighting the scenes need meaning that you get something that's both dark and scary as well as light and hopeful. The colours were something that really stood out to me in the advertising, the lightness of the blue and green against the anger of the orange and yellow, it shows the good and evil relationship really well.
The size of the creatures is mad and sometimes a little impossible to gauge, we get a few moments where we're given some perspective with man-made structures but they do a good job of trying to get it across in basic visual techniques too. You see a lot of them from "human" angles, from the ground running, from buildings and vehicles. It feels like an exercise in shock and awe and takes you back to Dr Serizawa's point at the beginning of the film that we're Godzilla's pets, it's not the other way around.
The effects/animation looked solid, at no point did I see anything on-screen that drew my attention away from the action. One moment in particular stood out and that was a large explosion somewhere in the middle of the movie. It was given an old fashioned kind of a look and it gave me the impression that they'd really looked at things that had come before it for inspiration.
You have to obviously accept the facts that in these sorts of films, parents will willingly put their children in immense danger, bad guys will always have prepared a short video presentation to explain their motivations and just because there's destruction happening all around you does not mean you will die. It's got all the classic monster/disaster movie moments that you love to hate in it. "Movie Reality" is awesome.
If you couldn't already tell, I loved this. Much improvement from the last instalment and an entertaining action-packed addition to the monsterverse. Oscar winner? Probably not. Entertaining escapism? Most definitely. I am a little concerned about how the story will progress from here. They had plenty of scope for lots of movies after some of the things they showed in the film, but the events of KotM mean that there's little room to move with it all, we'll have to see what happens in Godzilla Vs Kong next year.
What you should do
This really deserves to be seen on the big screen. The sound and the effects combine to make some great viewing.
Movie thing you wish you could take home
If they could adapt the Orca for human use I'd be interested.
Charlie Cobra Reviews (1840 KP) rated Zombieland: Double Tap (2019) in Movies
Jul 7, 2020 (Updated Nov 1, 2020)
Not Much More Than The Same Goofy Undead Routine
Contains spoilers, click to show
This movie was pretty entertaining when I saw it in theaters but I was more than a little disappointed in the movie as a whole, especially when it was 10 years in the making, and because of how much I loved the original movie. As I mentioned above this movie started off strong with the introduction about how the zombies were changing or evolving. The 3 types were: Homers, which were so dumb they were almost not a threat, Hawkings, which were smarter than the average zombie, and Ninjas, which are the silent and stealthy types. The whole montage of them whooping zombie ass on the lawn of the White House was awesome too. The movie was going smooth to be but I didn't like how the plot felt recycled because of the girls leaving them and stealing their car just like the first one. I can see a lot of people being annoyed with the dumb blonde character Madison, but to me her scenes were generally pretty funny and I couldn't help but bust out laughing with that seat belt scene. The one character that I never really liked in the movie was Avan Jogia's character Berkeley. He was just a plot device that got the story moving and never really did anything except be a pacifist hippie who played the guitar and the love interest for Little Rock. She totally winds up stealing the car from Wichita and leaving her stranded. A lot of the movie I think probably sounded better on paper then it wound up coming out in the film. Like for example the new type of zombie called the T-800's (after the terminator) were tougher to kill, they showed how it dodge bullets like Neo from Matrix and even took a lot of bullets and kept on going until it had it's head smashed in. But the movie lost at lot of those good things along the way. The Homers come out again in a few scenes, they mention a Hawking but it didn't really do anything special, and they never showed a ninja. Also the T-800's who were so un-killable earlier are shown to be easily killable later. When the gang is at the hippie strong hold Babylon, which in itself is ridiculous, they do a plan to take out the horde of T-800's coming their way. There is a part where they are being swarmed by them and they have no weapons other than melee ones and are easily killing all the T-800s around them. Yeah the whole hippie stronghold place was a big stretch for me too. I mean it had walls to protected them and rules for new people like no guns (which they confiscate and melt), but there's no way they could be there for 10 years with no weapons surviving in the zombie apocalypse. Just like the character Madison surviving in the mall living in a freezer in Pinkberry for 10 years. It's just a lot of the logic went out the window. But still it was an above average zombie movie and that's why I give it a 6/10.
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FearlessLover (27 KP) rated Dunkirk (2017) in Movies
Jul 31, 2017
Stunning cinea
It' s 1940, 400,000 allied troops are cornered and cut off on the beaches of Dunkirk; with the enemy closing in, and no cover or defence, they await annihilation or a miracle. We experience the moment as the characters do, without unnecessary exposition or dialogue! This proves quite the departure for Nolan; there is a lot here that owes more to silent cinema than anything else, but his images often say all that needs to be said.
An opening frame invites us to join a group of soldiers. Next, the loudest onslaught of gunfire kicks the film into another gear. We are given as much pause for thought as the soldiers we follow. We run with Tommy, played here by a Fionn Whitehead, and like him, we are aware of comrades falling dead next to us, but it is all panic and no time; we will lament their loss later. Set to the ticking of a watch, we feel Tommy's heart pounding with ours, and we know the tone for this audacious movie has been set.
We see the event from different perspectives and from within different time frames. Right now, not many directors can build momentum like Nolan. The jumping to and from different characters' point of view, the corkscrewing impression of the editing, events echoed and mirrored by Hans Zimmer's Shepherd's Tones and persistent, all enveloping score, acting at times more like sound design than music; it all results in a constant rise in tension, to the point of almost being exhaustive.
This said, the editing also serves another purpose. The "Miracle of Dunkirk" is a grand story, with every soldier, every pilot, and every civilian having their own point of view. Nolan wants us to build up an overall picture of the event purely through subjective experience, so of course we spend a tiring week with the terrified boys. Of course we spend a desperate day with a fisherman as he and his familial crew sail their way into action. Lastly, given the fuel constraints of the RAF, whose decisions had to be immediate and impulsive, always a choice between defending the beach or getting home, why would we spend any more that an edge-of-your-seat, quickly-cut hour in the cockpit of a Spitfire, as they do their duty and enter into dogfights to keep the German aircraft at bay? Each timeline is contracted or dilated to give everybody equal measure and importance, whilst staying true to and very much in their situation. Yes, this means we're kept on our toes; we have moments of confusion as timelines cross over and we see the same thing happening from another point of view, but as we head into the finale, as well as the aforementioned tension and release (which is just exciting cinema), we also get to see how, despite very different perspectives, everyone was working together, and how sacrifice and struggle for duty were par for the course for all involved, whether other people knew it or not. It is important that we the audience recognise this bigger picture, and as everything clicks together in an emotive final convergence of efforts, we not only see the justification for the techniques adopted, but struggle to imagine the story told another way. That is, at least, without going down a standard route, with objective storytelling employed.
A proper review not being complete without comment on the elephant in the room, it must be said that Harry Styles does not stand out like the proverbial sore thumb at all. Frankly, he carries his scenes with aplomb, and surely, following the Heath Ledger lesson, and now this, it is time we learned that, maybe, Christopher Nolan just knows what he's doing better that we do? As to the other big names, there are moments from that remain with me so long after having seen it: Kenneth Brannagh and Mark Rylance can say so much with so little, their faces and gestures doing the heavy lifting to deliver a lot of the human emotion, and it would appear Tom Hardy has Oscar-worthy eyes! You need see nothing more through the course of his drama to have a complete sense of the type of man his Farrier is. We talk about great acting and achieving realism through imagination, but with the knowledge that Nolan actually took everyone to Dunkirk, sank real ships, sailed real ships, flew real Spitfires overhead, employed real explosions on the beach, and even rejected green screen and CGI in favour of cardboard cut-outs, it seems imagination wasn't too necessary for these already consummate actors.
Nolan's principle fan base will be well prepared for what they get; but with his insistence on holding back from the audience any perspective not afforded his characters, ala 'Memento', some knowledge of the "Miracle Of Dunkirk" might put the more casual viewer in better stead. Regardless of which camp you fall into, or indeed of whether or not the movie does it for you, certain things are for sure: With no melodrama or cheese, and no superfluous fluff or emotional subterfuge, 'Dunkirk' is a purely experiential movie, a technical marvel of a war film unlike any other I can name. It also stands as a beacon in Nolan's career, characterised by his desire to cultivate an audience willing to keep up with him. And perhaps most importantly, this is a key moment in world history that is often overlooked; a disaster averted which, had it not been, would have seen the history books written very differently. That this event has been marshalled by a confident and sincere director, who has surely by now cemented his name alongside those of his own heroes, is reason enough to see 'Dunkirk'.
An opening frame invites us to join a group of soldiers. Next, the loudest onslaught of gunfire kicks the film into another gear. We are given as much pause for thought as the soldiers we follow. We run with Tommy, played here by a Fionn Whitehead, and like him, we are aware of comrades falling dead next to us, but it is all panic and no time; we will lament their loss later. Set to the ticking of a watch, we feel Tommy's heart pounding with ours, and we know the tone for this audacious movie has been set.
We see the event from different perspectives and from within different time frames. Right now, not many directors can build momentum like Nolan. The jumping to and from different characters' point of view, the corkscrewing impression of the editing, events echoed and mirrored by Hans Zimmer's Shepherd's Tones and persistent, all enveloping score, acting at times more like sound design than music; it all results in a constant rise in tension, to the point of almost being exhaustive.
This said, the editing also serves another purpose. The "Miracle of Dunkirk" is a grand story, with every soldier, every pilot, and every civilian having their own point of view. Nolan wants us to build up an overall picture of the event purely through subjective experience, so of course we spend a tiring week with the terrified boys. Of course we spend a desperate day with a fisherman as he and his familial crew sail their way into action. Lastly, given the fuel constraints of the RAF, whose decisions had to be immediate and impulsive, always a choice between defending the beach or getting home, why would we spend any more that an edge-of-your-seat, quickly-cut hour in the cockpit of a Spitfire, as they do their duty and enter into dogfights to keep the German aircraft at bay? Each timeline is contracted or dilated to give everybody equal measure and importance, whilst staying true to and very much in their situation. Yes, this means we're kept on our toes; we have moments of confusion as timelines cross over and we see the same thing happening from another point of view, but as we head into the finale, as well as the aforementioned tension and release (which is just exciting cinema), we also get to see how, despite very different perspectives, everyone was working together, and how sacrifice and struggle for duty were par for the course for all involved, whether other people knew it or not. It is important that we the audience recognise this bigger picture, and as everything clicks together in an emotive final convergence of efforts, we not only see the justification for the techniques adopted, but struggle to imagine the story told another way. That is, at least, without going down a standard route, with objective storytelling employed.
A proper review not being complete without comment on the elephant in the room, it must be said that Harry Styles does not stand out like the proverbial sore thumb at all. Frankly, he carries his scenes with aplomb, and surely, following the Heath Ledger lesson, and now this, it is time we learned that, maybe, Christopher Nolan just knows what he's doing better that we do? As to the other big names, there are moments from that remain with me so long after having seen it: Kenneth Brannagh and Mark Rylance can say so much with so little, their faces and gestures doing the heavy lifting to deliver a lot of the human emotion, and it would appear Tom Hardy has Oscar-worthy eyes! You need see nothing more through the course of his drama to have a complete sense of the type of man his Farrier is. We talk about great acting and achieving realism through imagination, but with the knowledge that Nolan actually took everyone to Dunkirk, sank real ships, sailed real ships, flew real Spitfires overhead, employed real explosions on the beach, and even rejected green screen and CGI in favour of cardboard cut-outs, it seems imagination wasn't too necessary for these already consummate actors.
Nolan's principle fan base will be well prepared for what they get; but with his insistence on holding back from the audience any perspective not afforded his characters, ala 'Memento', some knowledge of the "Miracle Of Dunkirk" might put the more casual viewer in better stead. Regardless of which camp you fall into, or indeed of whether or not the movie does it for you, certain things are for sure: With no melodrama or cheese, and no superfluous fluff or emotional subterfuge, 'Dunkirk' is a purely experiential movie, a technical marvel of a war film unlike any other I can name. It also stands as a beacon in Nolan's career, characterised by his desire to cultivate an audience willing to keep up with him. And perhaps most importantly, this is a key moment in world history that is often overlooked; a disaster averted which, had it not been, would have seen the history books written very differently. That this event has been marshalled by a confident and sincere director, who has surely by now cemented his name alongside those of his own heroes, is reason enough to see 'Dunkirk'.
Nymphomaniac Volume II (2014)
6.3
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