Search
Search results
Lucy Buglass (45 KP) rated Halloween (2018) in Movies
Jun 20, 2019
Michael’s back, back again
Happy Halloween everyone! What better way to celebrate than with my review of the latest in the Halloween franchise?
40 years after John Carpenter’s iconic horror film, we are greeted with a brand new instalment in Michael Myers’ saga. It feels like a really special moment for horror fans, as we reflect on the original decades later. The opening credits pay homage to the 1978 and provide some nostalgia for long time fans by using the same text and soundtrack that audiences would’ve seen on the big screen back then. This was a great stylistic choice as it really gets you feeling pumped for what’s to come.
The film opens with Myers in a high security facility, where two true crime podcasters attempt to communicate with him in order to learn more about him and the murders he committed. Unsurprisingly, Michael refuses to say anything, providing a seriously uncomfortable moment for the audience. Throughout the film, we don’t see or hear him, and shots of him without the mask are always the back of his head. I would have been very disappointed if they’d decided to show his face throughout, as this sense of facelessness is something that’s always scared me about him. He’s a silent killer, never jumping out and screaming, but hiding in the shadows waiting to strike at any point. Most interactions with Myers are tense, uncomfortable and nail biting. His presence alone has that effect on you.
As ever, it was a joy to see Jamie Lee Curtis reprise her role as original Myers’ victim, Laurie Strode. Throughout the film, Strode’s paranoia is hard to brush off, and actually makes you feel more on edge. It was great seeing how she’d aged, yet refused to move on, and Curtis really brought her to life once again. She was the highlight of the film for me, as she was far from a cowering victim, and someone who wanted Myers dead for good. Having said that, you can tell how much she still fears him and how she’s suffering with long-term PTSD after almost being murdered. Let’s face it, anyone would feel the same way.
Unfortunately, I did find some of the acting a bit cringeworthy and it took away from the overall experience. I know that horror films have a bit of a reputation for terrible acting and dialogue, but I felt like such an important franchise deserved better than that. In my screening there were a few laugh out loud moments, and I don’t think all of them were intentional. One thing I will say is that child actor Jibrail Nantambu is one to watch because he was such a character and brought some genuine humour to the scenes he was in. I hope he goes far. Michael’s handler Dr. Ranbir Sartain is also an interesting character that I won’t say much about, but his development throughout is particularly great.
Admittedly I would’ve preferred less focus on teenagers, families and their dramas, and more on Michael and the actual kills. The film was meant to be about him and Laurie, after all. Whilst I was mostly satisfied by the brutality and some really gruesome moments, I felt it had been hyped up to the point where I expected more. Is that bad? Have I just become desensitised to bloody moments? I’m not quite sure. Having said that, one scene in particular did have me on the edge of my seat so it was still able to provide that adrenaline rush despite all its flaws. I’m still really bloody scared of Michael Myers.
Overall, Halloween is certainly watchable and a great visit to the cinema, especially this evening. Whilst I’m not the world’s biggest Halloween fan and there are certain films in the franchise I haven’t even seen, I still enjoyed this and understood what was going on. If you’re a big horror fan, particularly of the classics, give this a go. It might give you some welcome nostalgia and scares, and maybe that’s enough.
https://lucygoestohollywood.com/2018/10/31/halloween-2018-michaels-back-back-again/
40 years after John Carpenter’s iconic horror film, we are greeted with a brand new instalment in Michael Myers’ saga. It feels like a really special moment for horror fans, as we reflect on the original decades later. The opening credits pay homage to the 1978 and provide some nostalgia for long time fans by using the same text and soundtrack that audiences would’ve seen on the big screen back then. This was a great stylistic choice as it really gets you feeling pumped for what’s to come.
The film opens with Myers in a high security facility, where two true crime podcasters attempt to communicate with him in order to learn more about him and the murders he committed. Unsurprisingly, Michael refuses to say anything, providing a seriously uncomfortable moment for the audience. Throughout the film, we don’t see or hear him, and shots of him without the mask are always the back of his head. I would have been very disappointed if they’d decided to show his face throughout, as this sense of facelessness is something that’s always scared me about him. He’s a silent killer, never jumping out and screaming, but hiding in the shadows waiting to strike at any point. Most interactions with Myers are tense, uncomfortable and nail biting. His presence alone has that effect on you.
As ever, it was a joy to see Jamie Lee Curtis reprise her role as original Myers’ victim, Laurie Strode. Throughout the film, Strode’s paranoia is hard to brush off, and actually makes you feel more on edge. It was great seeing how she’d aged, yet refused to move on, and Curtis really brought her to life once again. She was the highlight of the film for me, as she was far from a cowering victim, and someone who wanted Myers dead for good. Having said that, you can tell how much she still fears him and how she’s suffering with long-term PTSD after almost being murdered. Let’s face it, anyone would feel the same way.
Unfortunately, I did find some of the acting a bit cringeworthy and it took away from the overall experience. I know that horror films have a bit of a reputation for terrible acting and dialogue, but I felt like such an important franchise deserved better than that. In my screening there were a few laugh out loud moments, and I don’t think all of them were intentional. One thing I will say is that child actor Jibrail Nantambu is one to watch because he was such a character and brought some genuine humour to the scenes he was in. I hope he goes far. Michael’s handler Dr. Ranbir Sartain is also an interesting character that I won’t say much about, but his development throughout is particularly great.
Admittedly I would’ve preferred less focus on teenagers, families and their dramas, and more on Michael and the actual kills. The film was meant to be about him and Laurie, after all. Whilst I was mostly satisfied by the brutality and some really gruesome moments, I felt it had been hyped up to the point where I expected more. Is that bad? Have I just become desensitised to bloody moments? I’m not quite sure. Having said that, one scene in particular did have me on the edge of my seat so it was still able to provide that adrenaline rush despite all its flaws. I’m still really bloody scared of Michael Myers.
Overall, Halloween is certainly watchable and a great visit to the cinema, especially this evening. Whilst I’m not the world’s biggest Halloween fan and there are certain films in the franchise I haven’t even seen, I still enjoyed this and understood what was going on. If you’re a big horror fan, particularly of the classics, give this a go. It might give you some welcome nostalgia and scares, and maybe that’s enough.
https://lucygoestohollywood.com/2018/10/31/halloween-2018-michaels-back-back-again/
Chris Sawin (602 KP) rated Bakjwi (Thirst) (2009) in Movies
Jun 22, 2019
Unique take on vampires. (1 more)
Beautiful cinematography.
Father Sang-hyeon is a priest with a bleeding heart. He cares for his patients and does what's in his power to do whatever they ask. EV, the Emmanuel Virus, covers its victims from the waist up with blisters, causes ulcers and hemorrhages in muscle tissue, and even causes victims to vomit blood and die from excessive bleeding if the virus spreads to the internal organs. Sang-hyeon volunteers at the Emmanuel Lab in hopes of finding a treatment for the disease, but winds up contracting the disease himself and dying in the process. The blood he receives during the transfusion, however, miraculously brings him back from the edge of death. While being the lone survivor of the ordeal, the story detailing Sang-hyeon's journey gets more and more spectacular. He comes to the realization that drinking blood makes the blisters that cover his body disappear and that he has superhuman abilities. The transfusion has made Sang-hyeon a vampire. He stays with a childhood friend while struggling with finding ways to quench his hunger for blood in addition to falling in love with Tae-Joo, his best friend's wife.
If anyone sits down with me and has a conversation with me about movies, it's only a matter of time before I reveal that Oldboy is quite possibly my favorite film of all time. So it should be no surprise that I'm willing to see anything the director, Chan-wook Park, or lead actors, Choi Min-sik and Ji-Tae Yu, are involved with. Mainly because of my love for Oldboy, but also because I'm rarely disappointed with anything they are a part of. So when I heard Chan-wook Park was tackling a vampire film, I was thrilled and even more thrilled that he managed to deliver another solid film to his already impressive filmography.
The cinematography is the film's shining feature. Park really knows his stuff when it comes to shooting memorable scenes from behind a camera. Every shot is filled with vibrant colors that leap off of the screen. Every frame of the film seems to tell a story all on its own. I hope there's a Blu-ray release of this film because it will look fantastic. It's rather intriguing to see which elements of the vampire mythology Park used for his vision. Sang-hyeon has to drink blood to survive and to stay looking flawless, has incredible strength, and is vulnerable to sunlight. He doesn't, however, have fangs and also has a reflection in the mirror.
Although I've never seen the film, I couldn't help but feel like this was Chan-wook Park's version of Twilight. The entire middle portion of the film is devoted to Sang-hyeon's and Tae-Joo's love for one another. It felt like the adult version of Twilight, really. There's a lot of blood, nudity, sex, and even a few obscenities thrown in for good measure. Maybe it's the Chan-Wook Park fanboy in me, but I honestly feel like I can guarantee that this is the better film of the two. The psychological aspect that I love about Park's previous films is in Thirst, as well. That's a major factor for me as any film that causes me to think or is unusual in any way winds up becoming a fan favorite. The soundtracks to Park's films always seem to fit its respective film like a glove. Thirst is no exception. While the soundtrack is a bit more subtle this time around, it fit the overall atmosphere of the film rather effortlessly.
The middle portion of the film did seem to drag on longer than everything else in the film. It's weird though as the scenes during that time are crucial to the storyline of the film and it's hard to imagine Thirst being the same film if any of those scenes were cut. Nevertheless, it is my one nitpick of the film.
Chan-wook Park bites into the vampire mythology with Thirst and puts his own dark, psychological twist on it. Park's films always seem to have a specific formula or include most of the following: great writing, beautiful cinematography, a solid cast, some sort of psychological twist that'll mess with your head, and a memorable ending.
If anyone sits down with me and has a conversation with me about movies, it's only a matter of time before I reveal that Oldboy is quite possibly my favorite film of all time. So it should be no surprise that I'm willing to see anything the director, Chan-wook Park, or lead actors, Choi Min-sik and Ji-Tae Yu, are involved with. Mainly because of my love for Oldboy, but also because I'm rarely disappointed with anything they are a part of. So when I heard Chan-wook Park was tackling a vampire film, I was thrilled and even more thrilled that he managed to deliver another solid film to his already impressive filmography.
The cinematography is the film's shining feature. Park really knows his stuff when it comes to shooting memorable scenes from behind a camera. Every shot is filled with vibrant colors that leap off of the screen. Every frame of the film seems to tell a story all on its own. I hope there's a Blu-ray release of this film because it will look fantastic. It's rather intriguing to see which elements of the vampire mythology Park used for his vision. Sang-hyeon has to drink blood to survive and to stay looking flawless, has incredible strength, and is vulnerable to sunlight. He doesn't, however, have fangs and also has a reflection in the mirror.
Although I've never seen the film, I couldn't help but feel like this was Chan-wook Park's version of Twilight. The entire middle portion of the film is devoted to Sang-hyeon's and Tae-Joo's love for one another. It felt like the adult version of Twilight, really. There's a lot of blood, nudity, sex, and even a few obscenities thrown in for good measure. Maybe it's the Chan-Wook Park fanboy in me, but I honestly feel like I can guarantee that this is the better film of the two. The psychological aspect that I love about Park's previous films is in Thirst, as well. That's a major factor for me as any film that causes me to think or is unusual in any way winds up becoming a fan favorite. The soundtracks to Park's films always seem to fit its respective film like a glove. Thirst is no exception. While the soundtrack is a bit more subtle this time around, it fit the overall atmosphere of the film rather effortlessly.
The middle portion of the film did seem to drag on longer than everything else in the film. It's weird though as the scenes during that time are crucial to the storyline of the film and it's hard to imagine Thirst being the same film if any of those scenes were cut. Nevertheless, it is my one nitpick of the film.
Chan-wook Park bites into the vampire mythology with Thirst and puts his own dark, psychological twist on it. Park's films always seem to have a specific formula or include most of the following: great writing, beautiful cinematography, a solid cast, some sort of psychological twist that'll mess with your head, and a memorable ending.
Ryan Hill (152 KP) rated Spider-Man 2 (2004) in Movies
Jul 1, 2019
"There's a hero in all of us"
One of the finest sequels ever made and still counted amongst the greatest superhero flicks in existence, Spider-Man 2 is a remarkable follow-up to its already-impressive predecessor that skilfully builds upon the solid foundation provided by the first film, presents significant upgrades in each filmmaking aspect and beautifully balances all its elements to succeed as not just a de-facto standard of its genre but also as one of the best films of its year.
Set two years after the events of the first film, the story of Spider-Man 2 finds Peter Parker struggling to balance his personal life & his obligations as Spider-Man. His love interest is engaged to someone else, his grades have been steadily declining and he also seems to be losing his powers. Meanwhile, a brilliant scientist named Dr. Otto Octavius transforms into a supervillain with four robotic tentacles fused to his spine after his effort to sustain a nuclear fusion reaction goes horribly wrong.
Directed by Sam Raimi, Spider-Man 2 is a far more mature effort from him in comparison to his previous venture and presents the director in sublime form for this sequel picks up the story right where it was left off the last time despite the 2 years span, progresses the arc of its reprising characters amazingly well while giving a proper introduction to the new ones, and also does an outstanding job in balancing its storytelling elements with moments of action in a seamless manner, due to which everything about this sequel just works.
Alvin Sargent's screenplay is worthy of praise as well for the story takes a darker approach than the last time yet packs in enough humour to prevent it from becoming too bleak, and although the cheesiness of the first chapter isn't reduced, the narrative flow is much more stream-lined than before. Production design team comes up with bigger, more refined set pieces, Cinematography preserves the vibrant camerawork but has a firmer grip on it this time while Editing is definitely one of its strongest aspects for there isn't a dull moment in the picture.
Visual effects is much improved as well and by not overdoing its CGI elements, it keeps the artificiality of its universe at bay for the most part. Sure a number of moments are over-the-top but most of them still fall under the realm of on-screen believability. Last but not the least, Danny Elfman delivers again with a splendid soundtrack that stays true to the original film's score, works as a wonderfully evolved successor, and captures the darker tone with finesse just like it did the last time. Even the existing songs used in the picture are nicely chosen & help compliment the respective sequences.
Coming to the performances, Tobey Maguire, Kirsten Dunst, James Franco & J.K. Simmons return to reprise their respective roles of Peter Parker, Mary Jane Watson, Harry Osborn & J. Jonah Jameson and do a better job than before. Maguire builds up on his earlier input to impress once again and what he lacks in star presence, he makes up for it by chipping in a complex performance. Simmons is hilarious as before, Dunst & Franco are still on base level but it's Alfred Molina who impresses the most in what is a sympathetic rendition of Doc Ock, thus making him a classic foe in every way.
On an overall scale, Spider-Man 2 delivers everything one can expect from a sequel. It goes bigger, better & more action-packed than before yet stays completely true to its origin, plus finishes on a high with enough open choices for where it can be headed in later instalments, something that Sony failed to take advantage of. Sam Raimi has weaved a magical web yet again that tightly grasps on to every necessary ingredient to come up with an incredibly fun, highly enjoyable, wildly entertaining & thoroughly satisfying extravaganza that promises yet another high-flying, web-sligning roller-coaster ride and effortlessly delivers it.
Set two years after the events of the first film, the story of Spider-Man 2 finds Peter Parker struggling to balance his personal life & his obligations as Spider-Man. His love interest is engaged to someone else, his grades have been steadily declining and he also seems to be losing his powers. Meanwhile, a brilliant scientist named Dr. Otto Octavius transforms into a supervillain with four robotic tentacles fused to his spine after his effort to sustain a nuclear fusion reaction goes horribly wrong.
Directed by Sam Raimi, Spider-Man 2 is a far more mature effort from him in comparison to his previous venture and presents the director in sublime form for this sequel picks up the story right where it was left off the last time despite the 2 years span, progresses the arc of its reprising characters amazingly well while giving a proper introduction to the new ones, and also does an outstanding job in balancing its storytelling elements with moments of action in a seamless manner, due to which everything about this sequel just works.
Alvin Sargent's screenplay is worthy of praise as well for the story takes a darker approach than the last time yet packs in enough humour to prevent it from becoming too bleak, and although the cheesiness of the first chapter isn't reduced, the narrative flow is much more stream-lined than before. Production design team comes up with bigger, more refined set pieces, Cinematography preserves the vibrant camerawork but has a firmer grip on it this time while Editing is definitely one of its strongest aspects for there isn't a dull moment in the picture.
Visual effects is much improved as well and by not overdoing its CGI elements, it keeps the artificiality of its universe at bay for the most part. Sure a number of moments are over-the-top but most of them still fall under the realm of on-screen believability. Last but not the least, Danny Elfman delivers again with a splendid soundtrack that stays true to the original film's score, works as a wonderfully evolved successor, and captures the darker tone with finesse just like it did the last time. Even the existing songs used in the picture are nicely chosen & help compliment the respective sequences.
Coming to the performances, Tobey Maguire, Kirsten Dunst, James Franco & J.K. Simmons return to reprise their respective roles of Peter Parker, Mary Jane Watson, Harry Osborn & J. Jonah Jameson and do a better job than before. Maguire builds up on his earlier input to impress once again and what he lacks in star presence, he makes up for it by chipping in a complex performance. Simmons is hilarious as before, Dunst & Franco are still on base level but it's Alfred Molina who impresses the most in what is a sympathetic rendition of Doc Ock, thus making him a classic foe in every way.
On an overall scale, Spider-Man 2 delivers everything one can expect from a sequel. It goes bigger, better & more action-packed than before yet stays completely true to its origin, plus finishes on a high with enough open choices for where it can be headed in later instalments, something that Sony failed to take advantage of. Sam Raimi has weaved a magical web yet again that tightly grasps on to every necessary ingredient to come up with an incredibly fun, highly enjoyable, wildly entertaining & thoroughly satisfying extravaganza that promises yet another high-flying, web-sligning roller-coaster ride and effortlessly delivers it.
Sarah (7798 KP) rated Crisis (2021) in Movies
Feb 19, 2021
Worth it just for Oldman
Crisis is a 2021 film from write, director and producer Nicholas Jarecki, who previously brought us 2012's Arbitrage starring Richard Gere. Crisis is a story about drugs, namely opioids, and follows three separate yet related narratives about opioids and their impact on US society. There's an undercover DEA agent posing as a drug trafficker arranging a Fentanyl smuggling operation between Canada and the US (Armie Hammer), a recovering addict architect determined to track down those responsible for her son's involvement in narcotics (Evangeline Lilly), and a university professor (Gary Oldman) who's research laboratory uncovers dangerous revelations about a new drug that they've been paid to research by a very influential drug company and their executives (Luke Evans).
The main purpose of Crisis appears to be highlighting two entirely juxtaposed real life issues with opioids - the illegal smuggling and import of street drugs and the completely legal yet questionable drugs introduced by drug companies with full support of the government. For most, neither of these stories should be particularly surprising as they're fairly common knowledge and have been featured in countless films and documentaries over the years, although I think this may be the first time the two stories have been shown together in a film. And for Crisis this really works - showing the two contrasting issues makes for a more interesting and unique story rather than concentrating solely on one that we've seen many times before, especially as its split into three separate narratives.
However, the problem with Crisis is that not all of the narratives are as engaging as intended. Evangeline Lilly puts in a wonderful and emotional performance as architect and mother Claire, but her narrative becomes a little unrealistic as she becomes bent on revenge at those responsible for involving her son in the drugs underworld. And unfortunately Armie Hammer's narrative as undercover federal agent Jake is nothing original, with a smuggling operation and drugs bust that we've seen in many other films, some of which I'm afraid have done it a lot better. The most interesting narrative though is that of Gary Oldman as Dr Tyrone Brower, whose struggle over whether to tell the truth about a new dangerous drug or take the money from his drug company employers is a surprisingly thrilling morality tale. It's helped by a superb turn from Oldman himself and a wonderful supporting role from Greg Kinnear (who I've adored since 1997's As Good As It Gets), and the verbal sparring scenes between Brower and Kinnear's university Dean are probably the best in the film. It's a shame however that Luke Evans isn't given as much to do with his part in this narrative, even with his questionable American accent.
The biggest problem I had with all of the narratives is that unlike similar films that intertwine related narratives that eventually intersect dramatically (think 2006's Best Picture Oscar winner Crash), the narratives here don't all come together in the way I was expecting, which was rather disappointing.
Cinematography-wise, director and writer Jarecki does a good job as the film looks and feels good, and really highlights the US and Canadian settings. The soundtrack only adds to the overall tense and suspenseful feel of the film, although it does feature the typical pulsing, drum beat style that seems to be standard for a modern thriller. And the script, while possibly a little clichéd especially around the drugs bust and smuggling, is good and with his supporting acting role as Jake's fellow DEA agent Stan, Nicholas Jarecki could be one to watch in future.
Overall, Crisis is a good thriller that tells the story of well-known drug issues in a different way and does well in highlighting real life concerns. For the most part it succeeds in bringing an interesting set of narratives together for a fairly gripping albeit slightly long film, and despite my preconceptions about how its intersecting storylines should play out, it is an enjoyable watch, although for the most part thanks to the talents of Gary Oldman.
The main purpose of Crisis appears to be highlighting two entirely juxtaposed real life issues with opioids - the illegal smuggling and import of street drugs and the completely legal yet questionable drugs introduced by drug companies with full support of the government. For most, neither of these stories should be particularly surprising as they're fairly common knowledge and have been featured in countless films and documentaries over the years, although I think this may be the first time the two stories have been shown together in a film. And for Crisis this really works - showing the two contrasting issues makes for a more interesting and unique story rather than concentrating solely on one that we've seen many times before, especially as its split into three separate narratives.
However, the problem with Crisis is that not all of the narratives are as engaging as intended. Evangeline Lilly puts in a wonderful and emotional performance as architect and mother Claire, but her narrative becomes a little unrealistic as she becomes bent on revenge at those responsible for involving her son in the drugs underworld. And unfortunately Armie Hammer's narrative as undercover federal agent Jake is nothing original, with a smuggling operation and drugs bust that we've seen in many other films, some of which I'm afraid have done it a lot better. The most interesting narrative though is that of Gary Oldman as Dr Tyrone Brower, whose struggle over whether to tell the truth about a new dangerous drug or take the money from his drug company employers is a surprisingly thrilling morality tale. It's helped by a superb turn from Oldman himself and a wonderful supporting role from Greg Kinnear (who I've adored since 1997's As Good As It Gets), and the verbal sparring scenes between Brower and Kinnear's university Dean are probably the best in the film. It's a shame however that Luke Evans isn't given as much to do with his part in this narrative, even with his questionable American accent.
The biggest problem I had with all of the narratives is that unlike similar films that intertwine related narratives that eventually intersect dramatically (think 2006's Best Picture Oscar winner Crash), the narratives here don't all come together in the way I was expecting, which was rather disappointing.
Cinematography-wise, director and writer Jarecki does a good job as the film looks and feels good, and really highlights the US and Canadian settings. The soundtrack only adds to the overall tense and suspenseful feel of the film, although it does feature the typical pulsing, drum beat style that seems to be standard for a modern thriller. And the script, while possibly a little clichéd especially around the drugs bust and smuggling, is good and with his supporting acting role as Jake's fellow DEA agent Stan, Nicholas Jarecki could be one to watch in future.
Overall, Crisis is a good thriller that tells the story of well-known drug issues in a different way and does well in highlighting real life concerns. For the most part it succeeds in bringing an interesting set of narratives together for a fairly gripping albeit slightly long film, and despite my preconceptions about how its intersecting storylines should play out, it is an enjoyable watch, although for the most part thanks to the talents of Gary Oldman.
Bob Mann (459 KP) rated Old (2021) in Movies
Jul 28, 2021
Cinematography and Sound Design - very Hitchcockian (1 more)
Concept and initial set-up of the movie
Dafter than the Dharma initiative.
"Old" is the latest from the gloriously inconsistent writer/director M. Night Shyamalan. Will this be great Shyamalan (à la "The Sixth Sense") or dire Shyamalan (à la "The Last Airbender")? The answer, in my view, is somewhere in the middle. It's a curate's egg of a movie.
Positives:
- The premise feels very familiar (desert island beach; time slips; weird things happening.... "Lost" anyone?). But as a shell for a big screen adventure it kept me well-engaged.
- Shyamalan and his "Glass" cinematographer Mike Gioulakis use some novel techniques to portray the ageing effects. The angles they utilize feel quite Hitchcockian at times. Shyamalan supports this with the sound design, which makes this a REALLY good movie to watch in a cinema with good surround sound. Often the camera will be spinning showing nothing but ocean or rocks, with the character's conversation rotating behind you in the cinema. It's really quite effective.
- Shyamalan knows that no visual effects can improve on the horrors your mind can come up with. Although a '15' certificate, the "sustained threat, strong violence and injury detail" referenced by the BBFC pales into insignificance (in terms of what you actually see) compared to the equally rated "Freaky".
- I've seen other reviews comment that the "twist" (no spoilers here) was obvious. But, although not a ground-breaking idea, I was sufficiently satisfied with the denouement. It made sense, albeit twisted sense.
Negatives:
- I enjoyed the movie's leisurely set-up, introducing the characters and the movie's concept. (In many ways, it felt like the start of one of Irwin Allen's disaster movies of the 70's and 80's). But then Shyamalan turns the dial up to 11 and the action becomes increasingly farcical. Add into that the fact that you can see some of the 'jolts' coming a mile off, and the movie becomes progressively more disappointing, with a high ERQ (eye-rolling quotient) by the end.
- In particular, there are inconsistencies to the story that get you asking uncomfortable questions. For example, wounds can heal in the blink of an eye.... but not stab wounds apparently.
- The cast is truly global in nature: Vicky ("Phantom Thread") Krieps hails from Luxembourg; Bernal is Mexican; Sewell is a Brit; Amuka-Bird ("David Copperfield") is Nigerian; Leung is American; Eliza Scanlan is an Aussie; and Thomasin McKenzie (so good in "Jojo Rabbit", and good here too) is a Kiwi. But although it's clearly quite natural that an exotic beach resort would attract guests from all over the world, the combination of accents here makes the whole thing, unfortunately, sound like a dodgy spaghetti western!
Summary Thoughts: 'Time' and 'ageing' have of course been a popular movie topic for many years. I remember being both gripped and horrified by George Pal's wonderful 1960's version of "The Time Machine" when Rod Taylor threw his machine into fast forward and the dead Morlock decomposed in front of his eyes! Ursula Andress did the same as the rapidly ageing Ayesha in 1965's "She". And, more recently and with better effects, Julian Glover did the same in "Indiana Jones and the Last Crusade".
Unfortunately, "Old" isn't likely to join any of these classic movies in my consciousness. It's a diverting enough movie, with fabulous views of the Dominican Republic (which the local tourist board will no doubt be delighted with). A "less is more" approach might have made this a classic. But unfortunately, that's not what Shyamalan delivered here. Since what we get is a 'Lost-lite' with farcical elements.
And, by the way.... The movie that Charles (Rufus Sewell) refers to starring Jack Nicholson and Marlon Brando is "The Missouri Breaks". It has a very unusual John Williams soundtrack, which I have on vinyl somewhere and is probably worth a few bob!
(For the full graphical review, please check out One Mann's Movies on t'interweb, Facebook and Tiktok. Thanks.)
Positives:
- The premise feels very familiar (desert island beach; time slips; weird things happening.... "Lost" anyone?). But as a shell for a big screen adventure it kept me well-engaged.
- Shyamalan and his "Glass" cinematographer Mike Gioulakis use some novel techniques to portray the ageing effects. The angles they utilize feel quite Hitchcockian at times. Shyamalan supports this with the sound design, which makes this a REALLY good movie to watch in a cinema with good surround sound. Often the camera will be spinning showing nothing but ocean or rocks, with the character's conversation rotating behind you in the cinema. It's really quite effective.
- Shyamalan knows that no visual effects can improve on the horrors your mind can come up with. Although a '15' certificate, the "sustained threat, strong violence and injury detail" referenced by the BBFC pales into insignificance (in terms of what you actually see) compared to the equally rated "Freaky".
- I've seen other reviews comment that the "twist" (no spoilers here) was obvious. But, although not a ground-breaking idea, I was sufficiently satisfied with the denouement. It made sense, albeit twisted sense.
Negatives:
- I enjoyed the movie's leisurely set-up, introducing the characters and the movie's concept. (In many ways, it felt like the start of one of Irwin Allen's disaster movies of the 70's and 80's). But then Shyamalan turns the dial up to 11 and the action becomes increasingly farcical. Add into that the fact that you can see some of the 'jolts' coming a mile off, and the movie becomes progressively more disappointing, with a high ERQ (eye-rolling quotient) by the end.
- In particular, there are inconsistencies to the story that get you asking uncomfortable questions. For example, wounds can heal in the blink of an eye.... but not stab wounds apparently.
- The cast is truly global in nature: Vicky ("Phantom Thread") Krieps hails from Luxembourg; Bernal is Mexican; Sewell is a Brit; Amuka-Bird ("David Copperfield") is Nigerian; Leung is American; Eliza Scanlan is an Aussie; and Thomasin McKenzie (so good in "Jojo Rabbit", and good here too) is a Kiwi. But although it's clearly quite natural that an exotic beach resort would attract guests from all over the world, the combination of accents here makes the whole thing, unfortunately, sound like a dodgy spaghetti western!
Summary Thoughts: 'Time' and 'ageing' have of course been a popular movie topic for many years. I remember being both gripped and horrified by George Pal's wonderful 1960's version of "The Time Machine" when Rod Taylor threw his machine into fast forward and the dead Morlock decomposed in front of his eyes! Ursula Andress did the same as the rapidly ageing Ayesha in 1965's "She". And, more recently and with better effects, Julian Glover did the same in "Indiana Jones and the Last Crusade".
Unfortunately, "Old" isn't likely to join any of these classic movies in my consciousness. It's a diverting enough movie, with fabulous views of the Dominican Republic (which the local tourist board will no doubt be delighted with). A "less is more" approach might have made this a classic. But unfortunately, that's not what Shyamalan delivered here. Since what we get is a 'Lost-lite' with farcical elements.
And, by the way.... The movie that Charles (Rufus Sewell) refers to starring Jack Nicholson and Marlon Brando is "The Missouri Breaks". It has a very unusual John Williams soundtrack, which I have on vinyl somewhere and is probably worth a few bob!
(For the full graphical review, please check out One Mann's Movies on t'interweb, Facebook and Tiktok. Thanks.)
Illeana Douglas recommended Easy Rider (1969) in Movies (curated)
Bob Mann (459 KP) rated Black Widow (2021) in Movies
Jul 8, 2021
An entertaining pose-struck by Johansson and Pugh
A long time in the waiting (again) but "Black Widow" is an excellent addition to the Marvel canon: almost a "Rogue One" in the series, taking us back to fill in some gaps after "Captain America: Civil War". It's just great to have ANY Marvel back in the cinema.... that Michael Giacchino Marvel tune set the hairs going on the back of my neck!
Positives:
- Loving the heart in this Marvel! There's more sense of "family" than in F9! Johansson and Pugh, in particular, have a great on-screen relationship, and nice sisterly bickering goes on. There's a fabulous scene in a petrol (gas) station between the pair that really shows what class acting is available in this outing.
- David Harbour adds some fine comedy as the "Red Guardian", complete with action figure! Seeing him squeezing into his old uniform reminded me strongly of Mr Incredible! And the relationship with Rachel Weisz's Melina is also great fun.
- Completing the strong acting complement is Ray Winstone as villain Dreykov. It's a role he's played so many times before that he could probably do it in his sleep: but still great to watch. A shout-out too to the lovely Olga Kurylenko, looking decidedly unlovely here! (She isn't given very much to do as Taskmaster though.)
- There were some genuinely laugh-out-loud moments for me: both through witty dialogue and visual gags. A helicopter 'landing' was particularly snort-worthy!
- Lorne Balfe delivers another stonking soundtrack, full of Russian undertones. Also great is a twisted version of Nirvana's "Teen Spirit" over the opening titles.
Negatives:
- Now I KNOW you need to suspend belief during Marvel films, but the "Red Room" location (no spoilers, and no - not the "50 Shades" type) stretches that too far. It leads to an over-blown, free-falling finale that somewhat lessened the impact for me of the rather more realistic flow of the movie to that point.
- Tonally the movie is rather inconsistent. As an example, the start of the movie is played 'straight', as is the role of Alexei. But when he reappears later in the film - and it took me a long time to appreciate the jailbird character was in fact him - then he suddenly becomes the comic heart of the movie.
- I loved the way the film built the relationships between the characters. So this is NOT a negative from me. But I *suspect* some Marvel action fans may find the narrative portions of the movie too slow for their liking.
Summary Thoughts on "Black Widow": Black Widow has always struck me as an odd and slightly second-rate member of The Avengers. After all, she has no specific "superpowers", so how has she survived all of the physical abuse to date? So, given what we know happened to her in "Endgame", I questioned whether this was an origin story that would hold much interest with me. But the knack here is that it really isn't an "origin story" at all. It covers her early life, pre-titles, but then skips all the intermediate biopic stuff to drill into this specific adventure in her life. And the quality of the acting and the relationships that are built up delivered something that I greatly enjoyed.
Cate Shortland seems an odd choice to front a huge movie like this (she has a very short movie CV) but I think she's done a great job here. I'd put it in the top quartile of Marvel movies for me.
And BTW, as it's Marvel so as you might expect there is an end credits scene. You have to wait until the very end of the credits for it (so you can appreciate Lorne Balfe's score some more). But it is worth waiting for, re-introducing a character from one of the Phase 4 TV series.
(For the full graphical version, please check out One Mann's Movies on the web here - https://bob-the-movie-man.com/2021/07/07/black-widow-a-posers-guide-to-the-incredibles-3/. One Mann's Movies is also on Facebook and Tiktok (@onemannsmovies).)
Positives:
- Loving the heart in this Marvel! There's more sense of "family" than in F9! Johansson and Pugh, in particular, have a great on-screen relationship, and nice sisterly bickering goes on. There's a fabulous scene in a petrol (gas) station between the pair that really shows what class acting is available in this outing.
- David Harbour adds some fine comedy as the "Red Guardian", complete with action figure! Seeing him squeezing into his old uniform reminded me strongly of Mr Incredible! And the relationship with Rachel Weisz's Melina is also great fun.
- Completing the strong acting complement is Ray Winstone as villain Dreykov. It's a role he's played so many times before that he could probably do it in his sleep: but still great to watch. A shout-out too to the lovely Olga Kurylenko, looking decidedly unlovely here! (She isn't given very much to do as Taskmaster though.)
- There were some genuinely laugh-out-loud moments for me: both through witty dialogue and visual gags. A helicopter 'landing' was particularly snort-worthy!
- Lorne Balfe delivers another stonking soundtrack, full of Russian undertones. Also great is a twisted version of Nirvana's "Teen Spirit" over the opening titles.
Negatives:
- Now I KNOW you need to suspend belief during Marvel films, but the "Red Room" location (no spoilers, and no - not the "50 Shades" type) stretches that too far. It leads to an over-blown, free-falling finale that somewhat lessened the impact for me of the rather more realistic flow of the movie to that point.
- Tonally the movie is rather inconsistent. As an example, the start of the movie is played 'straight', as is the role of Alexei. But when he reappears later in the film - and it took me a long time to appreciate the jailbird character was in fact him - then he suddenly becomes the comic heart of the movie.
- I loved the way the film built the relationships between the characters. So this is NOT a negative from me. But I *suspect* some Marvel action fans may find the narrative portions of the movie too slow for their liking.
Summary Thoughts on "Black Widow": Black Widow has always struck me as an odd and slightly second-rate member of The Avengers. After all, she has no specific "superpowers", so how has she survived all of the physical abuse to date? So, given what we know happened to her in "Endgame", I questioned whether this was an origin story that would hold much interest with me. But the knack here is that it really isn't an "origin story" at all. It covers her early life, pre-titles, but then skips all the intermediate biopic stuff to drill into this specific adventure in her life. And the quality of the acting and the relationships that are built up delivered something that I greatly enjoyed.
Cate Shortland seems an odd choice to front a huge movie like this (she has a very short movie CV) but I think she's done a great job here. I'd put it in the top quartile of Marvel movies for me.
And BTW, as it's Marvel so as you might expect there is an end credits scene. You have to wait until the very end of the credits for it (so you can appreciate Lorne Balfe's score some more). But it is worth waiting for, re-introducing a character from one of the Phase 4 TV series.
(For the full graphical version, please check out One Mann's Movies on the web here - https://bob-the-movie-man.com/2021/07/07/black-widow-a-posers-guide-to-the-incredibles-3/. One Mann's Movies is also on Facebook and Tiktok (@onemannsmovies).)
Gareth von Kallenbach (980 KP) rated the PlayStation 4 version of Tony Hawk's Pro Skater 1 + 2 (Remastered) in Video Games
Oct 8, 2020
Tony Hawk Pro Skater 1+2 Takes What Was Old And Makes It New And Amazing
It’s a sunny day in Southern California. Friends are gathered around the Playstation and the CRT. The game in the console is letting us do what many of us just can’t do in real life. You’re mashing buttons trying to string together those combos for bragging rights among your friends. There’s a cold drink by your side, and your friend’s mom pops in to see if anyone wants some tortas. Nostalgia at its finest. I know this wasn’t everyone’s childhood, it wasn’t even mine most of the time. But those moments when we were blissfully unaware of what the future holds were some of the greatest of our lives. And like some out there, I can link a lot of this to video games, and few are more important in my life than Tony Hawk’s Pro Skater.
Flash forward 21 years and the world is crumbling around us. But there’s still that shining light waiting for those of us that know. An escape. A chance to do something we really can’t do in real life. Most of us couldn’t do it in 1999 either, but that’s neither here nor there. Tony Hawk’s Pro Skater 1+2 is the perfect release during this pandemic, whether you believe in it or not (I can’t believe I actually have to type those words). It gives the nostalgic fun to the old-timers like me, and introduces a whole new generation of gamers.
As I am sure you know by now, THPS1+2 is essentially the exact same games that we know and love, with a few minor tweaks. First and foremost, graphics have been updated significantly. From cut scenes to gameplay, everything has been modernized. Even the veteran skaters in the game have been updated to their current appearances, though their original appearances in the game are still available. There are other small things, like Subway Tokens being updated to Subway Cards, which, in true Tony Hawk fashion, are also about to be discontinued from use in the NY Subway System (tokens were on their way out when the game first released).
We also see some new skaters this time around, with a good addition of female skaters to the game. But beyond that, the games are, in many, many ways the same as original. It feels the same, and quite honestly looks the exact same to what I remember. Now clearly, this is not the case, but it’s weird what the brain will tell you when looking at things 20 years apart. Not only is the game play, goals, and levels set up exactly the same as it has always been, even most of the original soundtrack is present, with the addition of 37 new songs as well.
There’s not a lot I can tell you that will convince you either way. You’re either a fan of the series or you’re not. If you had a problem with the series back then, especially some people’s issues over the controls (which brought about competition such as Skate – which is being rebooted as well – or the newly released Skater XL), you will likely have the same issues now. As mentioned, and as you will see in many reviews, the gameplay is nearly identical to the first releases of both games. It is just really nice to revisit an important part of my young adult life, even if they still included those crappy competition levels.
With a price tag of $39.99, Tony Hawk Pro Skater 1+2 seems the perfect bit of happy distraction to help get us through the unknown in these difficulty times. My only qualm with the game would be platform availability. It’s available on PS4, Xbox One, and PC (by way of Epic Games Store), but I think they hindered themselves with 2 decisions: no Nintendo Switch version and EGS. I would love to be able to take this game on the go with me on the Nintendo, and the alleged anti-consumer practices of Epic Games regarding their store, not to mention their current publicity stunt with Apple and Google, has left a sour taste in the mouths of many gamers. Hopefully we will see availability on more platforms, including Stadia, in the future.
Flash forward 21 years and the world is crumbling around us. But there’s still that shining light waiting for those of us that know. An escape. A chance to do something we really can’t do in real life. Most of us couldn’t do it in 1999 either, but that’s neither here nor there. Tony Hawk’s Pro Skater 1+2 is the perfect release during this pandemic, whether you believe in it or not (I can’t believe I actually have to type those words). It gives the nostalgic fun to the old-timers like me, and introduces a whole new generation of gamers.
As I am sure you know by now, THPS1+2 is essentially the exact same games that we know and love, with a few minor tweaks. First and foremost, graphics have been updated significantly. From cut scenes to gameplay, everything has been modernized. Even the veteran skaters in the game have been updated to their current appearances, though their original appearances in the game are still available. There are other small things, like Subway Tokens being updated to Subway Cards, which, in true Tony Hawk fashion, are also about to be discontinued from use in the NY Subway System (tokens were on their way out when the game first released).
We also see some new skaters this time around, with a good addition of female skaters to the game. But beyond that, the games are, in many, many ways the same as original. It feels the same, and quite honestly looks the exact same to what I remember. Now clearly, this is not the case, but it’s weird what the brain will tell you when looking at things 20 years apart. Not only is the game play, goals, and levels set up exactly the same as it has always been, even most of the original soundtrack is present, with the addition of 37 new songs as well.
There’s not a lot I can tell you that will convince you either way. You’re either a fan of the series or you’re not. If you had a problem with the series back then, especially some people’s issues over the controls (which brought about competition such as Skate – which is being rebooted as well – or the newly released Skater XL), you will likely have the same issues now. As mentioned, and as you will see in many reviews, the gameplay is nearly identical to the first releases of both games. It is just really nice to revisit an important part of my young adult life, even if they still included those crappy competition levels.
With a price tag of $39.99, Tony Hawk Pro Skater 1+2 seems the perfect bit of happy distraction to help get us through the unknown in these difficulty times. My only qualm with the game would be platform availability. It’s available on PS4, Xbox One, and PC (by way of Epic Games Store), but I think they hindered themselves with 2 decisions: no Nintendo Switch version and EGS. I would love to be able to take this game on the go with me on the Nintendo, and the alleged anti-consumer practices of Epic Games regarding their store, not to mention their current publicity stunt with Apple and Google, has left a sour taste in the mouths of many gamers. Hopefully we will see availability on more platforms, including Stadia, in the future.
Emma @ The Movies (1786 KP) rated Wolfwalkers (2020) in Movies
Oct 11, 2020
Coming into this I wasn't sure what to expect, an animated Apple TV film... hmm.
Robyn comes to Ireland with her father, e's been given the job of ridding the area of a pack of wolves that are venturing closer and closer to the town. Keen to hunt just like her father, Robyn sneaks out of the safety of their walled town and into the forest after him. Once there she comes face to face with a wolf, but the encounter isn't what she expected. When she eventually meets Mebh, a wild spirit who lives out in the woods, she discovers what the legend of the wolkwalkers truly means and must find a way to save the pack, and her new friend, from the wrath of the Lord Protector and her father.
The phrase "don't judge a book by its cover" hasn't felt quite so accurate as it does now. When the film starts it has the delicacy of an illustrated picture book (with a hint of Gravity Falls), the colour palette is muted and the strokes look haphazard while being in exactly the right place... and I haven't liked this style of illustration... ever... in the 19 years I was in the book industry. It feels old fashioned (yes, I know that fits with its story) and I immediately felt myself grumble at the fact I was about to sit through a whole film of it.
Wolfwalkers' story is a nice mix of folk story and themes of family and friendship. We follow Robyn as she tries desperately to break free of societies rules and those of her overprotective father, and the overall effect is a surprisingly motivational film about protecting people and doing the right thing.
The only names I recognised off the cast list were Sean Bean and Simon McBurney, and both had the right tone for this film... though Bean ever so slightly like he wasn't always acting to the best of his abilities... but that's not really noticeable when you get swept up in everything.
Our two young ladies in the cast, Honor Kneafsey as Robyn and Eva Whittaker as Mebh, were a delightful match, and when the pair were together on screen they have an amazing chemistry together.
But I want to talk about my favourite thing, and that is very specifically, Mebh. Casting, animation, script, she gets the best of everything that was thrown at this film. Her style is so amazingly accurate for the tale and her story and you can see it in every scene. Her wild characteristics, her playful nature, had all been carefully added to every moment we see her. Whittaker's enthusiastic and emotional vocals bring it all to life in such a wonderful way. Mebh is a delightful creation and full of comedic moments that really made me smile... and that hair... brilliant.
Wolfwalkers' animation (by Cartoon Saloon) might not have been to my taste in the beginning but, with the story and the amazing characters, I soon started to forget about my initial peeves. The design of everything really helps to explain the surroundings, the light and dark of the forest when we first encounter it and then evolves as we progress. The visuals when the townies start encroaching are sad but have a stunning reality to them and in the run-up to the end of the film the way they portray those events is a massive change to the style and makes for a harrowing watch. They've also come up with an ingenious way of showing the wolves and the magic that they're regarded within the story, it's an impressive visual.
All of these wonderful things were topped off with a beautiful soundtrack. Everything fits perfectly, particularly the song "Running With The Wolves" by Aurora, which gave me chills to hear.
Starting this film with such a negative feeling I really didn't think I'd be able to turn it around, but as I watched on and got pulled deeper into the tale and the characters, well, you can tell by my rating that my mind was quickly changed. Wolfwalkers was a beautiful and emotional ride that I would not hesitate to recommend to anyone.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/10/wolfwalkers-movie-review.html
Robyn comes to Ireland with her father, e's been given the job of ridding the area of a pack of wolves that are venturing closer and closer to the town. Keen to hunt just like her father, Robyn sneaks out of the safety of their walled town and into the forest after him. Once there she comes face to face with a wolf, but the encounter isn't what she expected. When she eventually meets Mebh, a wild spirit who lives out in the woods, she discovers what the legend of the wolkwalkers truly means and must find a way to save the pack, and her new friend, from the wrath of the Lord Protector and her father.
The phrase "don't judge a book by its cover" hasn't felt quite so accurate as it does now. When the film starts it has the delicacy of an illustrated picture book (with a hint of Gravity Falls), the colour palette is muted and the strokes look haphazard while being in exactly the right place... and I haven't liked this style of illustration... ever... in the 19 years I was in the book industry. It feels old fashioned (yes, I know that fits with its story) and I immediately felt myself grumble at the fact I was about to sit through a whole film of it.
Wolfwalkers' story is a nice mix of folk story and themes of family and friendship. We follow Robyn as she tries desperately to break free of societies rules and those of her overprotective father, and the overall effect is a surprisingly motivational film about protecting people and doing the right thing.
The only names I recognised off the cast list were Sean Bean and Simon McBurney, and both had the right tone for this film... though Bean ever so slightly like he wasn't always acting to the best of his abilities... but that's not really noticeable when you get swept up in everything.
Our two young ladies in the cast, Honor Kneafsey as Robyn and Eva Whittaker as Mebh, were a delightful match, and when the pair were together on screen they have an amazing chemistry together.
But I want to talk about my favourite thing, and that is very specifically, Mebh. Casting, animation, script, she gets the best of everything that was thrown at this film. Her style is so amazingly accurate for the tale and her story and you can see it in every scene. Her wild characteristics, her playful nature, had all been carefully added to every moment we see her. Whittaker's enthusiastic and emotional vocals bring it all to life in such a wonderful way. Mebh is a delightful creation and full of comedic moments that really made me smile... and that hair... brilliant.
Wolfwalkers' animation (by Cartoon Saloon) might not have been to my taste in the beginning but, with the story and the amazing characters, I soon started to forget about my initial peeves. The design of everything really helps to explain the surroundings, the light and dark of the forest when we first encounter it and then evolves as we progress. The visuals when the townies start encroaching are sad but have a stunning reality to them and in the run-up to the end of the film the way they portray those events is a massive change to the style and makes for a harrowing watch. They've also come up with an ingenious way of showing the wolves and the magic that they're regarded within the story, it's an impressive visual.
All of these wonderful things were topped off with a beautiful soundtrack. Everything fits perfectly, particularly the song "Running With The Wolves" by Aurora, which gave me chills to hear.
Starting this film with such a negative feeling I really didn't think I'd be able to turn it around, but as I watched on and got pulled deeper into the tale and the characters, well, you can tell by my rating that my mind was quickly changed. Wolfwalkers was a beautiful and emotional ride that I would not hesitate to recommend to anyone.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/10/wolfwalkers-movie-review.html
Lee (2222 KP) rated Blinded by the Light (2019) in Movies
Jul 10, 2019
Not the feel good hit I was expecting
Blinded by the Light is based on a memoir by Guardian journalist Sarfaz Manzoor (who is also one of the screenwriters on the movie) and is directed by Gurinder Chadha (also one of the screenwriters), who had a hit back in 2002 with Bend it like Beckham. I remember seeing the trailer for this before watching Rocketman recently and it certainly looked like a pretty enjoyable 80s based British movie, set to a soundtrack of Bruce Springsteen songs. Unfortunately though, this turned out to be just a fairly average and generic drama, enjoyable at times, but kind of just meandering along and not really working for me.
The movie takes place in Luton during 1987, focusing on Pakistani teenager Javed (Viveik Kalra) as he struggles to find balance and purpose in his life against the backdrop of a Britain that's ruled by Margaret Thatcher and dominated by unemployment, uncertainty and racial tension. His father has very old fashioned views and his expectations for Javed begin to conflict with his own. Tensions within the family increase when his father is made redundant from the Vauxhall factory he has worked at for many years and Javed's dreams of becoming a writer don't really sit well with his father in terms of being a worthwhile career route. Javed begins sixth form college where his eyes are soon opened to a much bigger world, full of potential. And full of girls!
Everything comes to a head for Javed on the night of the famous UK storm of 1987. We see the infamous Michael Fish weather forecast on TV and a frustrated Javed, having dumped all of his poems outside in the bin, returning to his room and plugging into his Walkman the Bruce Springsteen cassette borrowed from his friend Roops. The song lyrics immediately click and resonate with Javed and we see them flashing up on the screen as he listens, swirling around his head or flashing up on walls. At the same time we see him remembering earlier scenes from the movie, elements of his life with which connect him with the message within the music, in a kind of low-key 80s music video style. It gives the impression of a major turning point in the movie, and the kind of uplifting musical direction in which the movie is heading. In a way, it kind of is, particularly with regard to Javed's 'awakening'. However, in terms of the musical sequences beyond this one, they're more along the lines of random singing and dancing at school or out on the town. It's more awkward and confusing than uplifting and enjoyable.
Blinded by the Light felt like the combination of a number movies I've seen before, with nothing really elevating it beyond those in terms of originality. So many generic characters - from the father stuck in his ways, dictating how his son should live his life, to the supportive and encouraging teacher (Hayley Atwell, on fine form here). And so many clichéd moments too - the best example being when an emotional Javed is arguing with his angry father and repeatedly waving in front of him the concert tickets he just bought without his knowledge. Three guesses as to what happens next...!
Overall, I didn't completely dislike this movie. I liked the 80s school setting, as that was the period that I was in secondary school, so could relate to that. But it also feels like the kind of movie drama that they used to make in the 80s too, and I expect more from my cinema experience these days. It also seems to be getting the usual "one of the best movies this year" phrase thrown at it though, something which I think is bandied around a little too freely at the moment. I put it squarely in the same camp as another movie from this year - Wild Rose, another movie that didn't really do it for me - so if you were one of the many people who enjoyed that movie, then Blinded by the Light will be well worth your time.
The movie takes place in Luton during 1987, focusing on Pakistani teenager Javed (Viveik Kalra) as he struggles to find balance and purpose in his life against the backdrop of a Britain that's ruled by Margaret Thatcher and dominated by unemployment, uncertainty and racial tension. His father has very old fashioned views and his expectations for Javed begin to conflict with his own. Tensions within the family increase when his father is made redundant from the Vauxhall factory he has worked at for many years and Javed's dreams of becoming a writer don't really sit well with his father in terms of being a worthwhile career route. Javed begins sixth form college where his eyes are soon opened to a much bigger world, full of potential. And full of girls!
Everything comes to a head for Javed on the night of the famous UK storm of 1987. We see the infamous Michael Fish weather forecast on TV and a frustrated Javed, having dumped all of his poems outside in the bin, returning to his room and plugging into his Walkman the Bruce Springsteen cassette borrowed from his friend Roops. The song lyrics immediately click and resonate with Javed and we see them flashing up on the screen as he listens, swirling around his head or flashing up on walls. At the same time we see him remembering earlier scenes from the movie, elements of his life with which connect him with the message within the music, in a kind of low-key 80s music video style. It gives the impression of a major turning point in the movie, and the kind of uplifting musical direction in which the movie is heading. In a way, it kind of is, particularly with regard to Javed's 'awakening'. However, in terms of the musical sequences beyond this one, they're more along the lines of random singing and dancing at school or out on the town. It's more awkward and confusing than uplifting and enjoyable.
Blinded by the Light felt like the combination of a number movies I've seen before, with nothing really elevating it beyond those in terms of originality. So many generic characters - from the father stuck in his ways, dictating how his son should live his life, to the supportive and encouraging teacher (Hayley Atwell, on fine form here). And so many clichéd moments too - the best example being when an emotional Javed is arguing with his angry father and repeatedly waving in front of him the concert tickets he just bought without his knowledge. Three guesses as to what happens next...!
Overall, I didn't completely dislike this movie. I liked the 80s school setting, as that was the period that I was in secondary school, so could relate to that. But it also feels like the kind of movie drama that they used to make in the 80s too, and I expect more from my cinema experience these days. It also seems to be getting the usual "one of the best movies this year" phrase thrown at it though, something which I think is bandied around a little too freely at the moment. I put it squarely in the same camp as another movie from this year - Wild Rose, another movie that didn't really do it for me - so if you were one of the many people who enjoyed that movie, then Blinded by the Light will be well worth your time.