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Leanne Crabtree (480 KP) rated Fangirl in Books
Jan 11, 2021
So I've pretty much devoured this book over the weekend, having very short breaks because I was a little bit hooked on the story. I fell in love with Levi, and Cath annoyed me at times, the secondary characters were great, or some of them were better than others, i.e Reagan, I loved her. As for the rest of the book, I didn't read half of the inserts from Simon Snow and Cath's fanfaction stuff because that wasn't the story I was interested in. I was interested in Cath and Levi. That being said, I was a little disappointed in the ending. I wasn't bothered about the eighth Simon Snow book being released, I wanted to read about what happened after break with Cath and Levi. Sigh...
Nevertheless, I was very gripped by this story and enjoyed it more than the other Rainbow Rowell book I've read Eleanor and Park
Nevertheless, I was very gripped by this story and enjoyed it more than the other Rainbow Rowell book I've read Eleanor and Park
Movie Metropolis (309 KP) rated Jurassic World (2015) in Movies
Jun 10, 2019
A Trip down memory lane
Can you believe it’s been 14 years since genetically modified dinosaurs rampaged across our screens in Joe Johnston’s underwhelming Jurassic Park III?
After being stuck in development hell for over a decade, Steven Spielberg handpicked indie director Colin Trevorrow to helm the fourth instalment of the popular adventure franchise, Jurassic World, but can it return the much-loved series to form?
Man of the moment Chris Pratt (Guardians of the Galaxy), Bryce Dallas Howard (The Village), Ty Simpkins (Iron Man 3) and Omar Sy (X-Men: Days of Future Past) lead a cast of characters in a visually spectacular film that whilst paying homage to 1993’s Jurassic Park, lacks a little of the original’s soul.
Jurassic World is now a fully functioning theme park taken over from John Hammond’s InGen by Simon Masrani (Irrfan Khan in a pleasingly comedic performance). Welcoming over 20,000 visitors a day, the park sees the need to create something bigger, louder and with more teeth to sustain visitor interest – the Indominus Rex.
Naturally, this doesn’t go quite to plan.
The performances from all of the cast are on-point with Bryce Dallas Howard being a particular highlight. There were worries that her ability would match Tea Leoni from Jurassic Park III rather than Laura Dern’s brilliant Ellie Sattler from the original. Thankfully, this isn’t the case.
Her story arc is particularly intriguing if predictable with her uptight corporate image being shed throughout the film’s succinct 123 minute running time.
Chris Pratt proves why he is the man every director wants to work with. His less comedic side comes out in Jurassic World and proves that he has the acting chops to go with his good looks.
Vincent D’Onofrio stars as the obligatory villain but his side story is never really explored – possibly setting up for a sequel should the film perform well at the box office and with it making up 90% of global ticket sales this weekend, things look promising.
Music wise, Jurassic World treads a very careful path. Make no mistake, this is a standalone movie, but the references to the original are there for all to hear. Michael Giacchino, one of the best composers of the moment, takes over from Don Davis of Jurassic Park III and provides the series with its best score since John Williams’ original.
Special effects too are top notch with the park looking stunning and the dinosaurs, on the whole, faring the same way. There are a couple of moments where things start to look a little video game like, but this never takes away from the beauty of this film.
Unfortunately, whilst the last 30 minutes are breath-taking, edge of your seat stuff, it’s difficult to differentiate Jurassic World from the plethora of high budget blockbusters that litter the cinema these days and whilst Trevorrow chooses references to the original carefully, it lacks a little of that film’s soul and ultimately charm.
Overall, Jurassic World is better than the majority of blockbusters that have come and gone from cinemas over the last year and it tops The Lost World: Jurassic Park and Jurassic Park III to become a sequel worthy of the original.
Yes it’s not perfect, with the gorgeous finale lacking substance, but after waiting 14 years it comes pretty darn close and will no doubt be, along with Star Wars: Episode VII, one of the most memorable films of the noughties.
Do you remember seeing Jurassic Park for the first time? That’s the question everyone asks, and whilst Jurassic World won’t be making anywhere near the same impact, it’s a film worthy of the brand.
https://moviemetropolis.net/2015/06/14/a-trip-down-memory-lane-jurassic-world-review/
After being stuck in development hell for over a decade, Steven Spielberg handpicked indie director Colin Trevorrow to helm the fourth instalment of the popular adventure franchise, Jurassic World, but can it return the much-loved series to form?
Man of the moment Chris Pratt (Guardians of the Galaxy), Bryce Dallas Howard (The Village), Ty Simpkins (Iron Man 3) and Omar Sy (X-Men: Days of Future Past) lead a cast of characters in a visually spectacular film that whilst paying homage to 1993’s Jurassic Park, lacks a little of the original’s soul.
Jurassic World is now a fully functioning theme park taken over from John Hammond’s InGen by Simon Masrani (Irrfan Khan in a pleasingly comedic performance). Welcoming over 20,000 visitors a day, the park sees the need to create something bigger, louder and with more teeth to sustain visitor interest – the Indominus Rex.
Naturally, this doesn’t go quite to plan.
The performances from all of the cast are on-point with Bryce Dallas Howard being a particular highlight. There were worries that her ability would match Tea Leoni from Jurassic Park III rather than Laura Dern’s brilliant Ellie Sattler from the original. Thankfully, this isn’t the case.
Her story arc is particularly intriguing if predictable with her uptight corporate image being shed throughout the film’s succinct 123 minute running time.
Chris Pratt proves why he is the man every director wants to work with. His less comedic side comes out in Jurassic World and proves that he has the acting chops to go with his good looks.
Vincent D’Onofrio stars as the obligatory villain but his side story is never really explored – possibly setting up for a sequel should the film perform well at the box office and with it making up 90% of global ticket sales this weekend, things look promising.
Music wise, Jurassic World treads a very careful path. Make no mistake, this is a standalone movie, but the references to the original are there for all to hear. Michael Giacchino, one of the best composers of the moment, takes over from Don Davis of Jurassic Park III and provides the series with its best score since John Williams’ original.
Special effects too are top notch with the park looking stunning and the dinosaurs, on the whole, faring the same way. There are a couple of moments where things start to look a little video game like, but this never takes away from the beauty of this film.
Unfortunately, whilst the last 30 minutes are breath-taking, edge of your seat stuff, it’s difficult to differentiate Jurassic World from the plethora of high budget blockbusters that litter the cinema these days and whilst Trevorrow chooses references to the original carefully, it lacks a little of that film’s soul and ultimately charm.
Overall, Jurassic World is better than the majority of blockbusters that have come and gone from cinemas over the last year and it tops The Lost World: Jurassic Park and Jurassic Park III to become a sequel worthy of the original.
Yes it’s not perfect, with the gorgeous finale lacking substance, but after waiting 14 years it comes pretty darn close and will no doubt be, along with Star Wars: Episode VII, one of the most memorable films of the noughties.
Do you remember seeing Jurassic Park for the first time? That’s the question everyone asks, and whilst Jurassic World won’t be making anywhere near the same impact, it’s a film worthy of the brand.
https://moviemetropolis.net/2015/06/14/a-trip-down-memory-lane-jurassic-world-review/
Mandi S (1 KP) rated The Upside of Unrequited in Books
Jan 23, 2018
After absolutely loving the audiobook version of Simon vs the Homo Sapiens Agenda, I knew I wanted to listen to Becky Albertalli's next book, The Upside of Unrequited, rather than just read it. Not sure what she has done to get such a great cast of narrators for her books, but I loved this one as well! Sometimes audiobook narrators can be terrible and completely ruin what would have otherwise been a great story, but once again this audiobook knocked it out of the park.
The Upside of Unrequited follows Molly and her twin sister Cassie, two girls raised by lesbian moms, who also happen to be a mixed-race couple. Cassie is also a lesbian. Molly considers herself to be the more unattractive twin, being uncomfortable with her weight and never having kissed a boy, while Cassie is gorgeous and can have almost any girl she wants. Throughout the story, Molly struggles with Cassie getting her first serious girlfriend and losing that closeness with her sister, while trying to find herself and work on romantic relationships of her own. Oh, and plan a wedding for her moms.
I loved everything about this story. I really identified with Molly and her struggles with self image, and having family members beat her up over a "weight problem" since that has also happened to me. I loved the amount of diversity in this book, and that it was a big focus but not so much that it distracted from other elements of the story. There was a point however where I almost stopped reading because I felt SO BAD for Molly. I just couldn't bear to keep reading about the terrible way that others treated her and what I thought was going to happen next in the story, but I pushed myself through and I'm glad I did! I am so happy with the way this story ended!
I also kind of hate myself for taking so long to realize that Molly and Cassie's cousin Abby is the same Abby from Simon! I know they're making a movie from Simon, but I really hope they make a movie about this one too! I also can't wait to get my hands on Becky Albertalli's newest book, Leah on the Offbeat!
Overall Rating: 4 out of 5 Stars
The Upside of Unrequited follows Molly and her twin sister Cassie, two girls raised by lesbian moms, who also happen to be a mixed-race couple. Cassie is also a lesbian. Molly considers herself to be the more unattractive twin, being uncomfortable with her weight and never having kissed a boy, while Cassie is gorgeous and can have almost any girl she wants. Throughout the story, Molly struggles with Cassie getting her first serious girlfriend and losing that closeness with her sister, while trying to find herself and work on romantic relationships of her own. Oh, and plan a wedding for her moms.
I loved everything about this story. I really identified with Molly and her struggles with self image, and having family members beat her up over a "weight problem" since that has also happened to me. I loved the amount of diversity in this book, and that it was a big focus but not so much that it distracted from other elements of the story. There was a point however where I almost stopped reading because I felt SO BAD for Molly. I just couldn't bear to keep reading about the terrible way that others treated her and what I thought was going to happen next in the story, but I pushed myself through and I'm glad I did! I am so happy with the way this story ended!
I also kind of hate myself for taking so long to realize that Molly and Cassie's cousin Abby is the same Abby from Simon! I know they're making a movie from Simon, but I really hope they make a movie about this one too! I also can't wait to get my hands on Becky Albertalli's newest book, Leah on the Offbeat!
Overall Rating: 4 out of 5 Stars
OMG!! This book is the feels of FEELS! I loved it and couldn't put it down! Rainbow Rowell is now one of my favourite authors.
Sypnosis:
Fangirl is about identical twins Cath and Wren, these two do everything together even so as going to the same University.
Wren is the more outgoing of the two who just wants to party, make friends and enjoy everything university has to offer. Cath on the other hand is a shy, geeky fan fiction writer that wants to appear invisible to everyone and just get her head down.
Cath has an obsession with a book series called Simon snow and launched her own fan fiction page that carry the story on in different scenes and she is quite a success at it, but it's literally all she can think about
As the girls have two very different ideas of University they decide not to live together so Cath has to share with Reagan, she has a boyfriend that is always there, encouraging Cath to go out bowling and parties.
Then there is the boy in her fiction writing class that wants to be writing buddies.
Cath soon finds love, but with whom?
<blockquote> I don’t just kiss people. Kisses aren’t... just with me.</blockquote>
My thoughts:
Fangirl is written in a 3rd person POV and started off pretty slow for my liking and I couldn't see what all the hype was about! At 100 pages in things started to get interesting and the pace was set.
The characters in this book are so relatable and realistic, with Cath and her social anxiety, daily worries and awkwardness, her fathers mental health and Wren going off the rails.
Levi is just the most amazing character I have come across always happy and just there! when you need him. He's a listener and patient and OMG!! I think I have a fictional crush!
I HATED!! the Simon Snow fan fiction parts I thought it was just a rip off of Harry potter and was not interested in this part at all that I started to skip all these parts and unfortunately there was so much of it
Rainbow Rowell is a contemporary romance genius! I was even thinking about the book at work, trying to think what was going to happen and what I had already read, that's how hooked I was on this book.
I never wanted it to end it just made me all warm and fuzzy inside, this would have been a five star book if it wasn't for the Simon Snow parts
I have read Eleanor and Park by Rainbow Rowell and I loved it, but I definitely will not be picking up carry on as it's all about Simon bloody Snow-sorry!
I recommend this to anyone that enjoys contemporary and romance novels.
I rate this book 4 out of 5 stars
Sypnosis:
Fangirl is about identical twins Cath and Wren, these two do everything together even so as going to the same University.
Wren is the more outgoing of the two who just wants to party, make friends and enjoy everything university has to offer. Cath on the other hand is a shy, geeky fan fiction writer that wants to appear invisible to everyone and just get her head down.
Cath has an obsession with a book series called Simon snow and launched her own fan fiction page that carry the story on in different scenes and she is quite a success at it, but it's literally all she can think about
As the girls have two very different ideas of University they decide not to live together so Cath has to share with Reagan, she has a boyfriend that is always there, encouraging Cath to go out bowling and parties.
Then there is the boy in her fiction writing class that wants to be writing buddies.
Cath soon finds love, but with whom?
<blockquote> I don’t just kiss people. Kisses aren’t... just with me.</blockquote>
My thoughts:
Fangirl is written in a 3rd person POV and started off pretty slow for my liking and I couldn't see what all the hype was about! At 100 pages in things started to get interesting and the pace was set.
The characters in this book are so relatable and realistic, with Cath and her social anxiety, daily worries and awkwardness, her fathers mental health and Wren going off the rails.
Levi is just the most amazing character I have come across always happy and just there! when you need him. He's a listener and patient and OMG!! I think I have a fictional crush!
I HATED!! the Simon Snow fan fiction parts I thought it was just a rip off of Harry potter and was not interested in this part at all that I started to skip all these parts and unfortunately there was so much of it
Rainbow Rowell is a contemporary romance genius! I was even thinking about the book at work, trying to think what was going to happen and what I had already read, that's how hooked I was on this book.
I never wanted it to end it just made me all warm and fuzzy inside, this would have been a five star book if it wasn't for the Simon Snow parts
I have read Eleanor and Park by Rainbow Rowell and I loved it, but I definitely will not be picking up carry on as it's all about Simon bloody Snow-sorry!
I recommend this to anyone that enjoys contemporary and romance novels.
I rate this book 4 out of 5 stars
Eleanor Luhar (47 KP) rated Fangirl in Books
Jun 24, 2019
I finished this book earlier today, and have been dying to sit down and get this review done!
The first book I read by Rainbow Rowell was Eleanor & Park, but I have to say that I loved this so much more! It's still a romance, but less so - as in, it isn't too romantic, and love isn't the only storyline.
Basically, twins Cath and Wren have just started college, staying in separate rooms for the first time. Instead, Cath shares her dorm with Reagan - a chronically angry-looking girl with about five boyfriends - and Wren with Courtney, her new party buddy.
For years, Cath has been writing Simon Snow fanfiction with her sister, and has become internet-famous. She signs up for Fiction-Writing class, and continues to work on her main fic - Carry On, Simon. But when Professor Piper accuses her of plagiarism when she turns in a piece of fanfic, Cath isn't sure she's cut out for the class. Not to mention the fact that the final Simon Snow book is soon to be released.
As if these problems aren't enough, the girls' father ends up back in a mental hospital after they leave home, and their mother - who left when they were just eight years old - is trying to get in touch again. Oh, and Cath's close friend and writing partner uses a joint piece of work for an assignment, without giving Cath any credit.
Throughout all this, Cath breaks up and makes up with her sister, and her relationship with Reagan's ex-boyfriend is a crazy ride. Levi and Cath are clearly becoming an item, until Cath turns up at Levi's party and finds him kissing some other girl. So much for that.
I can't say I know what college is like, but Cath really reminds me of me and my friends. For one, I'm a total introvert and would never leave my room, let alone ask someone where the cafeteria is... And two, my friends are all the internet type, many of which also love to read a bit of fanfiction every now and then. Some of her insecurities and worries are incredibly similar to my own, which kind of gave me a sense of relief. (Phew, it is normal to worry about that!)
I love the relationship between Wren and Cath, and how it addresses the issues that siblings face. And the situation with their parents, which I'm sure lots of people can relate to. Basically, I love how this isn't just a simple college book, where guy-meets-girl and everything's great. It's far more realistic than that, with an appropriate hint of humour.
The characters themselves are also all imperfect in some way. Cath compares Levi to her ex-boyfriend and admits that he may not be quite as attractive, yet she still likes him more. Not to mention how she comments on the little things she notices, but not in a negative way.
I sped through this book, which I wasn't expecting with a book this length. It's funny, it's realistic, and it's a great read. Not to mention, it's now on my favourites list. Five stars!
BookMarked
The first book I read by Rainbow Rowell was Eleanor & Park, but I have to say that I loved this so much more! It's still a romance, but less so - as in, it isn't too romantic, and love isn't the only storyline.
Basically, twins Cath and Wren have just started college, staying in separate rooms for the first time. Instead, Cath shares her dorm with Reagan - a chronically angry-looking girl with about five boyfriends - and Wren with Courtney, her new party buddy.
For years, Cath has been writing Simon Snow fanfiction with her sister, and has become internet-famous. She signs up for Fiction-Writing class, and continues to work on her main fic - Carry On, Simon. But when Professor Piper accuses her of plagiarism when she turns in a piece of fanfic, Cath isn't sure she's cut out for the class. Not to mention the fact that the final Simon Snow book is soon to be released.
As if these problems aren't enough, the girls' father ends up back in a mental hospital after they leave home, and their mother - who left when they were just eight years old - is trying to get in touch again. Oh, and Cath's close friend and writing partner uses a joint piece of work for an assignment, without giving Cath any credit.
Throughout all this, Cath breaks up and makes up with her sister, and her relationship with Reagan's ex-boyfriend is a crazy ride. Levi and Cath are clearly becoming an item, until Cath turns up at Levi's party and finds him kissing some other girl. So much for that.
I can't say I know what college is like, but Cath really reminds me of me and my friends. For one, I'm a total introvert and would never leave my room, let alone ask someone where the cafeteria is... And two, my friends are all the internet type, many of which also love to read a bit of fanfiction every now and then. Some of her insecurities and worries are incredibly similar to my own, which kind of gave me a sense of relief. (Phew, it is normal to worry about that!)
I love the relationship between Wren and Cath, and how it addresses the issues that siblings face. And the situation with their parents, which I'm sure lots of people can relate to. Basically, I love how this isn't just a simple college book, where guy-meets-girl and everything's great. It's far more realistic than that, with an appropriate hint of humour.
The characters themselves are also all imperfect in some way. Cath compares Levi to her ex-boyfriend and admits that he may not be quite as attractive, yet she still likes him more. Not to mention how she comments on the little things she notices, but not in a negative way.
I sped through this book, which I wasn't expecting with a book this length. It's funny, it's realistic, and it's a great read. Not to mention, it's now on my favourites list. Five stars!
BookMarked
BankofMarquis (1832 KP) rated Mission impossible dead reckoning part one (2023) in Movies
Jul 14, 2023
What A Summer Blockbuster Movie Should Be
Boy, that Tom Cruise sure knows how to make a crowd-pleasing, summer blockbuster movie.
Fresh off his cinema-saving success with TOP GUN: MAVERICK, Cruise (and Director Christopher McQuarrie) comes back with another giant summer tentpole film - MISSION IMPOSSIBLE: DEAD RECKONING, PART ONE - and they hit it out of the park again.
The 7th film in the Mission Impossible franchise (which debuted, incredibly, 27 years ago), DEAD RECKONING, PART ONE reunites Ethan Hunt (Tom Cruise) with his band of hero/outlaws to stop yet another world-wide crisis. It’s familiar ground but it is the journey not the destination that makes these types of films work and the journey (which, to be honest, is just an excuse to jump from action set piece to action set piece) is a fun one filled with comfortable characters/actors both old and new.
Besides Cruise (who’s got the Ethan Hunt character down), DR1 is filled with Hunt’s “regular” crew, Luther (Vingh Rhames - the only other actor besides Cruise to be in every MI film), Benji (SImon Pegg - around since MI 3) and Ilsa Faust (Rebecca Ferguson - on board since film 5). These are all familiar, comfortable characters and when the band gets back together about 1/2 way through the film, it felt liking sinking into your couch after a long, hard (but good) day of work to watch your favorite comfort show.
McQuarrie, wisely, populates the rest of the film with new, but comfortably familiar, faces such as Haley Atwell (Agent Carter in the MCU), Shea Wigham (ironically, he played Atwell’s boss in the Agent Carter TV Series), Pom Klementieff as Paris (the name of the character Leonard Nimoy played in the TV Series). Klementieff is also a veteran of the MCU having played Mantis in the Guardians of the Galaxy films, Esai Morales (one of the bosses in NYPD BLUE) and Cary Elwes (the Princess Bride). All bring their “A” game to the adventure and all of them acquit themselves just fine.
Oh…and Henry Czerny reprises his role as Kittridge from the first Mission Impossible film - and it was good to see him, too as was Vanessa Kirby’s re-appearance as Hunt’s “frenemie”, The White Widow (in a role that is a bit more expanded).
But, of course, all of these actors/performances takes a back seat to the action sequences and McQuarrie and Cruise are at the top of their game here. The big action set pieces are a marvel to watch - very enjoyable, exciting, nerve-wracking and easy to follow with some sense of humor rolled in. Unlike another big action flick (that leaned more towards the over-the-top comic-book type action), this Mission Impossible film relies on tension to make these action scenes pop off the screen - and McQuarrie succeeds.
Since this film is labeled as “Part One” you would expect to this film to end on a cliff-hanger and McQuarrie/Cruise were smart about that, too. It is more of “the mission isn’t finished” than a cliff-hanger, which helps this film hold together on it’s own and not just “Part One of a two-parter”.
Very smart, indeed.
A fun romp at the cinema - head out to the biggest screen possible to immerse yourself into this mission, you’ll be glad you did.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
A fun, escapist, action film that is satisfying (and not dumb), MISSION IMPOSSIBLE: DEAD
Fresh off his cinema-saving success with TOP GUN: MAVERICK, Cruise (and Director Christopher McQuarrie) comes back with another giant summer tentpole film - MISSION IMPOSSIBLE: DEAD RECKONING, PART ONE - and they hit it out of the park again.
The 7th film in the Mission Impossible franchise (which debuted, incredibly, 27 years ago), DEAD RECKONING, PART ONE reunites Ethan Hunt (Tom Cruise) with his band of hero/outlaws to stop yet another world-wide crisis. It’s familiar ground but it is the journey not the destination that makes these types of films work and the journey (which, to be honest, is just an excuse to jump from action set piece to action set piece) is a fun one filled with comfortable characters/actors both old and new.
Besides Cruise (who’s got the Ethan Hunt character down), DR1 is filled with Hunt’s “regular” crew, Luther (Vingh Rhames - the only other actor besides Cruise to be in every MI film), Benji (SImon Pegg - around since MI 3) and Ilsa Faust (Rebecca Ferguson - on board since film 5). These are all familiar, comfortable characters and when the band gets back together about 1/2 way through the film, it felt liking sinking into your couch after a long, hard (but good) day of work to watch your favorite comfort show.
McQuarrie, wisely, populates the rest of the film with new, but comfortably familiar, faces such as Haley Atwell (Agent Carter in the MCU), Shea Wigham (ironically, he played Atwell’s boss in the Agent Carter TV Series), Pom Klementieff as Paris (the name of the character Leonard Nimoy played in the TV Series). Klementieff is also a veteran of the MCU having played Mantis in the Guardians of the Galaxy films, Esai Morales (one of the bosses in NYPD BLUE) and Cary Elwes (the Princess Bride). All bring their “A” game to the adventure and all of them acquit themselves just fine.
Oh…and Henry Czerny reprises his role as Kittridge from the first Mission Impossible film - and it was good to see him, too as was Vanessa Kirby’s re-appearance as Hunt’s “frenemie”, The White Widow (in a role that is a bit more expanded).
But, of course, all of these actors/performances takes a back seat to the action sequences and McQuarrie and Cruise are at the top of their game here. The big action set pieces are a marvel to watch - very enjoyable, exciting, nerve-wracking and easy to follow with some sense of humor rolled in. Unlike another big action flick (that leaned more towards the over-the-top comic-book type action), this Mission Impossible film relies on tension to make these action scenes pop off the screen - and McQuarrie succeeds.
Since this film is labeled as “Part One” you would expect to this film to end on a cliff-hanger and McQuarrie/Cruise were smart about that, too. It is more of “the mission isn’t finished” than a cliff-hanger, which helps this film hold together on it’s own and not just “Part One of a two-parter”.
Very smart, indeed.
A fun romp at the cinema - head out to the biggest screen possible to immerse yourself into this mission, you’ll be glad you did.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
A fun, escapist, action film that is satisfying (and not dumb), MISSION IMPOSSIBLE: DEAD
Bob Mann (459 KP) rated A Quiet Place (2018) in Movies
Sep 29, 2021
“There’s a kind of hush, all over the world tonight”.
What a masterpiece this is! The most novel, the most tense, the most exhilarating, the most edge-of-your-seat Indie horror movie I could hope to see this year.
It’s 2020 and 89 days after “it” happens, the world is a very different place. Making any noise at all becomes a death sentence…. that bad cold could kill you and nothing seems to be able to prevent mankind from being annihilated one sneeze at a time.
In what could be a nice “Cloverfield”-style series, the action here focuses in on the resourceful Abbott family: the father Lee (John Krasinski, “Away We Go”) is handy with electronics and back-woods skills; the mother Evelyn (Emily Blunt, “The Girl on the Train“; “Edge of Tomorrow“) has medical training. So they are well suited then to take care of their offspring: the profoundly deaf Regan (Millicent Simmonds); Marcus (Noah Jupe); and their youngest Beau (a cute Cade Woodward). It’s a battle of brains against vicious, relentless and malevolent alien brawn: how far will Lee and Evelyn go to keep their family safe?
Man, this is a tense film! It doesn’t pull its punches from the get-go and thereafter there is an air of brooding and ever-building menace that gets right under your skin. This is certainly not helped by the fact that there is a ticking clock of an oncoming ‘event’ – no spoilers here – to worry about. As incessantly and inevitably as the rising tide in “The Shallows” a clock ticks down. Thank heavens then that the ‘event’ and the outcome of that ‘event’ are both traditionally such quiet affairs!
While all of the buzz at the moment is on the 80’s Easter Eggs in “Ready Player One”, here is a movie packed with delights for movie lovers. There are recognisable elements here from such classics as “The Road”, “Signs”, “Witness”, “Alien”, “Jurassic Park”, “Jaws”…. even (traumatically) “Home Alone”! So is it then just a rag-bag collection of stolen moments from other films? No – not at all. This stands tall and proud as a master work in its own right, the standout and unique quality of the movie being its use (or rather absence) of sound… something that works so magnificently as a concept in a movie-theatre.
I was lucky enough in the late September of 1979 to see (at 10 am in the morning as I remember!) in the Odeon Leicester Square in London, the first ever UK (and probably worldwide) showing of a little film called “Alien”. The cinema was pretty empty, but I have never sat through such an electric viewing. This had some of the same aura about it: a hushed audience, totally gripped. (I agree with Simon Mayo and Ali Plumb on this though that all snacks, and especially popcorn in scrapy SCRAPY cardboard boxes, should be banned from these screenings… I had to physically move seats away a noisy muncher as the film started!). But for sure, distractions accepted, this is a classic communal movie experience and so is a movie you should most DEFINITELY see in the cinema.
If there is one Oscar for February 2019 that I think should already be a shoe-in for a nomination, if not a win, it is the sound team led by Erik Aadahl and Ethan Van der Ryn: breathtakingly spectacular. This is assisted enormously by the musical score of Marco Beltrami (“Logan“, “The Shallows“) which helps augment and annotate the action jump-scares brilliantly.
Another critical member of the crew for a film like this is the editor, and here Christopher Tellefsen (“Joy“) delivers the goods with tight and effective execution of those cuts (the film sort!) that made me vertically leave my seat at least a couple of times.
Real life couple Krasinski and Blunt share such obvious and tender chemistry that it is impossible to not get emotionally involved. A shared iPhone listening moment, as a lull in the action, is very moving. Millicent Simmonds, who is actually deaf from childhood in an inspired piece of storytelling/casting, is also an acting force to be reckoned with: her only other movie is last year’s “Wonderstruck” that I have yet to see.
Writers Bryan Woods and Scott Beck (with contribution to the screenplay from Krasinski) also deserve praise for an intelligent and highly satisfying plot that never fails to disappoint to the last drop. Every detail, down to the painted footsteps on the un-squeaky floorboards, is just pitch-perfect. It’s also a film that very wisely doesn’t outstay its welcome: 90 minutes of such adrenaline is almost too much for anyone to stand! Krasinski as director keeps everything deliciously tight during that running time with no time to breath, particularly in the frenetic final reel.
I’ve gushed enough. This is a must see for sci-fi and horror fans of all ages. And with a “BvS quotient” of just 6.8%, it’s enormously good value for money. Go see it!
It’s 2020 and 89 days after “it” happens, the world is a very different place. Making any noise at all becomes a death sentence…. that bad cold could kill you and nothing seems to be able to prevent mankind from being annihilated one sneeze at a time.
In what could be a nice “Cloverfield”-style series, the action here focuses in on the resourceful Abbott family: the father Lee (John Krasinski, “Away We Go”) is handy with electronics and back-woods skills; the mother Evelyn (Emily Blunt, “The Girl on the Train“; “Edge of Tomorrow“) has medical training. So they are well suited then to take care of their offspring: the profoundly deaf Regan (Millicent Simmonds); Marcus (Noah Jupe); and their youngest Beau (a cute Cade Woodward). It’s a battle of brains against vicious, relentless and malevolent alien brawn: how far will Lee and Evelyn go to keep their family safe?
Man, this is a tense film! It doesn’t pull its punches from the get-go and thereafter there is an air of brooding and ever-building menace that gets right under your skin. This is certainly not helped by the fact that there is a ticking clock of an oncoming ‘event’ – no spoilers here – to worry about. As incessantly and inevitably as the rising tide in “The Shallows” a clock ticks down. Thank heavens then that the ‘event’ and the outcome of that ‘event’ are both traditionally such quiet affairs!
While all of the buzz at the moment is on the 80’s Easter Eggs in “Ready Player One”, here is a movie packed with delights for movie lovers. There are recognisable elements here from such classics as “The Road”, “Signs”, “Witness”, “Alien”, “Jurassic Park”, “Jaws”…. even (traumatically) “Home Alone”! So is it then just a rag-bag collection of stolen moments from other films? No – not at all. This stands tall and proud as a master work in its own right, the standout and unique quality of the movie being its use (or rather absence) of sound… something that works so magnificently as a concept in a movie-theatre.
I was lucky enough in the late September of 1979 to see (at 10 am in the morning as I remember!) in the Odeon Leicester Square in London, the first ever UK (and probably worldwide) showing of a little film called “Alien”. The cinema was pretty empty, but I have never sat through such an electric viewing. This had some of the same aura about it: a hushed audience, totally gripped. (I agree with Simon Mayo and Ali Plumb on this though that all snacks, and especially popcorn in scrapy SCRAPY cardboard boxes, should be banned from these screenings… I had to physically move seats away a noisy muncher as the film started!). But for sure, distractions accepted, this is a classic communal movie experience and so is a movie you should most DEFINITELY see in the cinema.
If there is one Oscar for February 2019 that I think should already be a shoe-in for a nomination, if not a win, it is the sound team led by Erik Aadahl and Ethan Van der Ryn: breathtakingly spectacular. This is assisted enormously by the musical score of Marco Beltrami (“Logan“, “The Shallows“) which helps augment and annotate the action jump-scares brilliantly.
Another critical member of the crew for a film like this is the editor, and here Christopher Tellefsen (“Joy“) delivers the goods with tight and effective execution of those cuts (the film sort!) that made me vertically leave my seat at least a couple of times.
Real life couple Krasinski and Blunt share such obvious and tender chemistry that it is impossible to not get emotionally involved. A shared iPhone listening moment, as a lull in the action, is very moving. Millicent Simmonds, who is actually deaf from childhood in an inspired piece of storytelling/casting, is also an acting force to be reckoned with: her only other movie is last year’s “Wonderstruck” that I have yet to see.
Writers Bryan Woods and Scott Beck (with contribution to the screenplay from Krasinski) also deserve praise for an intelligent and highly satisfying plot that never fails to disappoint to the last drop. Every detail, down to the painted footsteps on the un-squeaky floorboards, is just pitch-perfect. It’s also a film that very wisely doesn’t outstay its welcome: 90 minutes of such adrenaline is almost too much for anyone to stand! Krasinski as director keeps everything deliciously tight during that running time with no time to breath, particularly in the frenetic final reel.
I’ve gushed enough. This is a must see for sci-fi and horror fans of all ages. And with a “BvS quotient” of just 6.8%, it’s enormously good value for money. Go see it!
Bob Mann (459 KP) rated Baby Driver (2017) in Movies
Sep 29, 2021
A summer film so cool that air-con is optional.
Sorry for the lack of posts folks…. with a holiday in sunny Portugal, I’ve not been to the pics for weeks!
There’s something inherently appealing about the concept of a getaway driver. A skillful ‘bad-boy’, but not normally bad enough to actually DO the nasty crime stuff…. merely be an active accomplice to it. As a result, it’s a subject that the movies have returned to time after time. I’m old and crusty enough to remember being wowed at seeing Ryan O’Neal in Walter Hill’s “Driver” on the big screen in 1978. And well before that, as a kid, my poor departed mother used to be driven crazy by me begging her to take me to see “The Italian Job” (the original 1969 version) YET again… probably the greatest getaway chase in movie history: I must have seen that film at least 20 times in the cinema. Of course more recently we’ve also had Ryan Gosling and Carey Mulligan in “Drive” on the same theme. Any I’ve forgotten?
But with Edgar Wright at the helm, a big name cast and an enticing trailer, I had high expectations for “Baby Driver” – and boy was I happy! This is such a seriously cool film on so many levels.
Opening with a bank heist followed by a kick-ass car chase, we follow ‘Baby’ (Ansel Elgort, “Allegiant”, “The Fault in our Stars”) as a tinnitus-suffering, music-infused getaway driver under the thumb of the criminal overlord Doc (Kevin Spacey, in icy Frank Underwood mode). Doc recruits an ever-changing mix-tape of villains for each job, including the psychopathic and appropriately named ‘Bats’ (Jamie Foxx, “Sleepless”), the chillingly dangerous Buddy (Jon Hamm, “Mad Men”, “Keeping Up With The Joneses”) and his “Bonnie-style” wife ‘Darling’ (Eiza González) and the moderately incompetent JD (Lanny Joon) (who changed his neck tattoo of “HATE” to “HAT” since it improved his job prospects… LOL…. “everybody loves a hat”!).
Baby’s life gets more complicated when the hoods become aware of his fledgling relationship with fellow-orphan Debora (Lily James) a waitress in a diner and another lever to keep Baby locked into the job that he is just so, so good at.
On the surface this might be perceived as being just another good excuse for a lot of CGI-driven car stunts in the style of “The Fate of the Furious”. But no. Firstly, as Edgar Wright declared before the special screening I saw, all of the car stunts were actually performed for real on the mean streets of Atlanta (and hats off to the film’s stunt coordinator Robert Nagle and his team for these). And secondly, the car scenes are almost secondary to the fabulous story and character development in the film. The script (also by Edgar Wright) is just brilliant. There are genuinely laugh-out loud moments in the movie, with one of the highlights for me being JD tasked with procuring Michael Myers “Halloween” masks for a heist. If you don’t find this scene hilarious, you are not human – official.
The only misstep for me in the script was an unbelievable event (both in terms of likelihood and – particularly – timing) during a closing car park fight***.
Elgort is really strong in the lead role, and suggested to me that if the role of the young Han Solo in the upcoming Star Wars spin-off hadn’t already gone to Alden Ehrenreich, then here was a very strong contender. All of the supporting roles are strong (as you would expect from such a stellar cast) with Jon Hamm being a standout, appearing truly demonic in the closing scenes. The one role I was less sure about in the film was that of Lily James, whose performance as the ‘sweet as apple pie’ waitress seemed a little too “animated” for the big screen in the early scenes – I remember an acting class by Michael Caine where he advised that given the size of movie screens it’s often the case that “stillness is good”. What works well on the small screen (I am a big fan of her roles in historical TV dramas like “Downton Abbey” and the impeccable “War and Peace”) perhaps sometimes needs modifying for the wide-screen experience. I greatly warmed to her portrayal in the action sequences later on though: she’s a great actress and one that this film can hopefully now propel into the higher echelons in Hollywood.
Another star of the film is the fabulous soundtrack coordinated by Oscar-winner Steven Price (“Gravity“) featuring (amongst many other classics) Queen’s “Brighton Rock”, Golden Earring’s “Radar Love”, the Simon and Garfunkel classic (obviously) and Bob & Earl’s “Harlem Shuffle”, all used to brilliant effect. This latter track leads me on to some early Oscar predictions: if this film doesn’t get nominated this year for Oscars for Best Editing (Jonathan Amos and Paul Machliss, “Scott Pilgrim vs the World”) and Best Sound Editing (Julian Slater), then there is no God! The “Harlem Shuffle” coffee run sequence is a masterclass in editing and direction. Starting off with what I thought might turn into a tribute to “Saturday Night Fever”, the scene neatly takes on a style all of its own. It’s use of – erm – “subtitles” is just brilliant.
The often subtle, and occasionally not so subtle, edits between scenes are also truly masterful, making this moviegoer laugh-out-loud with delight periodically at the movie-making skill on display.
All of this is orchestrated by Edgar Wright as director who – for me – has been a little inconsistent over the years (loved, loved, loved “Shaun of the Dead” and “Hot Fuzz”; “The World’s End” – not so much). Here, he delivers in spades and this film rockets immediately into my Films of the Year list for 2017. Awe inspiring.
Beg, steal, borrow, rob a bank – – do what you have to, but make sure you catch this film on the big screen.
There’s something inherently appealing about the concept of a getaway driver. A skillful ‘bad-boy’, but not normally bad enough to actually DO the nasty crime stuff…. merely be an active accomplice to it. As a result, it’s a subject that the movies have returned to time after time. I’m old and crusty enough to remember being wowed at seeing Ryan O’Neal in Walter Hill’s “Driver” on the big screen in 1978. And well before that, as a kid, my poor departed mother used to be driven crazy by me begging her to take me to see “The Italian Job” (the original 1969 version) YET again… probably the greatest getaway chase in movie history: I must have seen that film at least 20 times in the cinema. Of course more recently we’ve also had Ryan Gosling and Carey Mulligan in “Drive” on the same theme. Any I’ve forgotten?
But with Edgar Wright at the helm, a big name cast and an enticing trailer, I had high expectations for “Baby Driver” – and boy was I happy! This is such a seriously cool film on so many levels.
Opening with a bank heist followed by a kick-ass car chase, we follow ‘Baby’ (Ansel Elgort, “Allegiant”, “The Fault in our Stars”) as a tinnitus-suffering, music-infused getaway driver under the thumb of the criminal overlord Doc (Kevin Spacey, in icy Frank Underwood mode). Doc recruits an ever-changing mix-tape of villains for each job, including the psychopathic and appropriately named ‘Bats’ (Jamie Foxx, “Sleepless”), the chillingly dangerous Buddy (Jon Hamm, “Mad Men”, “Keeping Up With The Joneses”) and his “Bonnie-style” wife ‘Darling’ (Eiza González) and the moderately incompetent JD (Lanny Joon) (who changed his neck tattoo of “HATE” to “HAT” since it improved his job prospects… LOL…. “everybody loves a hat”!).
Baby’s life gets more complicated when the hoods become aware of his fledgling relationship with fellow-orphan Debora (Lily James) a waitress in a diner and another lever to keep Baby locked into the job that he is just so, so good at.
On the surface this might be perceived as being just another good excuse for a lot of CGI-driven car stunts in the style of “The Fate of the Furious”. But no. Firstly, as Edgar Wright declared before the special screening I saw, all of the car stunts were actually performed for real on the mean streets of Atlanta (and hats off to the film’s stunt coordinator Robert Nagle and his team for these). And secondly, the car scenes are almost secondary to the fabulous story and character development in the film. The script (also by Edgar Wright) is just brilliant. There are genuinely laugh-out loud moments in the movie, with one of the highlights for me being JD tasked with procuring Michael Myers “Halloween” masks for a heist. If you don’t find this scene hilarious, you are not human – official.
The only misstep for me in the script was an unbelievable event (both in terms of likelihood and – particularly – timing) during a closing car park fight***.
Elgort is really strong in the lead role, and suggested to me that if the role of the young Han Solo in the upcoming Star Wars spin-off hadn’t already gone to Alden Ehrenreich, then here was a very strong contender. All of the supporting roles are strong (as you would expect from such a stellar cast) with Jon Hamm being a standout, appearing truly demonic in the closing scenes. The one role I was less sure about in the film was that of Lily James, whose performance as the ‘sweet as apple pie’ waitress seemed a little too “animated” for the big screen in the early scenes – I remember an acting class by Michael Caine where he advised that given the size of movie screens it’s often the case that “stillness is good”. What works well on the small screen (I am a big fan of her roles in historical TV dramas like “Downton Abbey” and the impeccable “War and Peace”) perhaps sometimes needs modifying for the wide-screen experience. I greatly warmed to her portrayal in the action sequences later on though: she’s a great actress and one that this film can hopefully now propel into the higher echelons in Hollywood.
Another star of the film is the fabulous soundtrack coordinated by Oscar-winner Steven Price (“Gravity“) featuring (amongst many other classics) Queen’s “Brighton Rock”, Golden Earring’s “Radar Love”, the Simon and Garfunkel classic (obviously) and Bob & Earl’s “Harlem Shuffle”, all used to brilliant effect. This latter track leads me on to some early Oscar predictions: if this film doesn’t get nominated this year for Oscars for Best Editing (Jonathan Amos and Paul Machliss, “Scott Pilgrim vs the World”) and Best Sound Editing (Julian Slater), then there is no God! The “Harlem Shuffle” coffee run sequence is a masterclass in editing and direction. Starting off with what I thought might turn into a tribute to “Saturday Night Fever”, the scene neatly takes on a style all of its own. It’s use of – erm – “subtitles” is just brilliant.
The often subtle, and occasionally not so subtle, edits between scenes are also truly masterful, making this moviegoer laugh-out-loud with delight periodically at the movie-making skill on display.
All of this is orchestrated by Edgar Wright as director who – for me – has been a little inconsistent over the years (loved, loved, loved “Shaun of the Dead” and “Hot Fuzz”; “The World’s End” – not so much). Here, he delivers in spades and this film rockets immediately into my Films of the Year list for 2017. Awe inspiring.
Beg, steal, borrow, rob a bank – – do what you have to, but make sure you catch this film on the big screen.