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Bob Mann (459 KP) rated Alone in Berlin (2017) in Movies
Sep 29, 2021
Small Rebellions.
Once again, World War II turns up another true story of quiet valour to turn into a motion picture. At a time when Trump is pontificating about so called “fake news”, here is a timely tale from history which centres on the battle against genuinely fake news: the Nazi propaganda machine.
After losing their only son in the French campaign, Berliners Otto (Brendan Gleeson,”Harry Potter and the Goblet of Fire”) and Anna (Emma Thompson, “Saving Mr Banks“) turn against the regime and in repeated acts of rebellion Otto laboriously hand writes subversive postcards to leave in office blocks around Berlin.
Resistance is futile. Otto (Brendan Gleeson) and Anna (Emma Thompson) out on a new mission.
Out to catch him is local police investigator Escherich (Daniel Brühl) but in an age before CCTV that’s no easy task and with increasing SS pressure the stakes for Escherich steadily increase. For Otto and Anna, the stress is there but both are resigned to their fate: with their son stolen from them for an unjust cause they are an island of indifference in an unholy land. Both are ‘alone in Berlin’.
Daniel Brühl as police detective Escherich getting more than he bargained for from the SS.
After 70 years it still chills the blood to see German locations decked out in Nazi regalia, but one of the joys of this film is this rendering of life in wartime Berlin: starting with jubilation at German progress prior to D-Day and turning to despair and genuine danger as the tide turns towards 1945. In a pretty bleak film there are touches of black comedy now and then: Otto’s carpentry company is being encouraged “by the Fuhrer” to double and triple their output… of coffins.
A (very clean) Berlin, decked out with Nazi regalia.
More joy comes from the star turns of Gleeson and Thompson, both of who deliver on their emotionally challenging roles. Gleeson in particular makes a very believable German with a sour demeanor and a steely determination. But the star acting turn for me goes to the wonderful Daniel Brühl (“Rush“) as the tormented police detective, bullied into an ethical corner by the SS. The finale of the film – whilst not seeming quite believable – makes for a nicely unexpected twist.
The Nazi Womens’ League out on another fund-raising sweep, providing Thompson with one of her best scenes in the film with an Oberführer’s wife.
Based on a novel by Hans Fallada, the lead writing credits for the piece are shared between Achim von Borries and the director Vincent Perez – in a rare directorial outing for the Swiss actor. The script exudes a melancholic gloom and at times expresses beautifully both the grief and love shared by this older couple. But some of the dialogue needs more work and we don’t see enough of Thompson in the early part of the film where her motivations should be being developed. This rather comes down to a lack of focus by the director. While the primary story of the card distribution is slight, it is compelling and a detour into a sub-story about an old Jewish lodger living upstairs is unnecessary and detracts from the overall story arc. I would have far preferred if the running time had been a tight 90 minutes just focused on Otto’s mission. One final comment on the script: did I mishear that Anna claimed to have a 6 year old child during an air raid scene? I know Emma Thompson looks great for her age, but….
Otto and Elise Hampel – the real life characters on which the film’s Otto and Anna Quangel were based.
I can’t finish this without commending the beautiful piano score of Alexandre Desplat. From the first note I knew it was him – he has such a characteristic style – and his clever use of the score complements the film exquisitely. “Small” films like this tend to rather disappear into the woodwork for Oscar consideration, but here’s a soundtrack that I think should be considered: (but what do I know… when “Nocturnal Animals” wasn’t even nominated in one of the Oscar crimes of the century!).
In summary, I found this a thoughtful and thought-provoking film, that – despite some of the mean reviews I’ve seen – I thought was well crafted and with excellent production design by Jean-Vincent Puzos (“Amour”). It will be particularly appreciated by older audiences looking for an untold story from the war, and by all lovers of fine acting performances by the three leads.
After losing their only son in the French campaign, Berliners Otto (Brendan Gleeson,”Harry Potter and the Goblet of Fire”) and Anna (Emma Thompson, “Saving Mr Banks“) turn against the regime and in repeated acts of rebellion Otto laboriously hand writes subversive postcards to leave in office blocks around Berlin.
Resistance is futile. Otto (Brendan Gleeson) and Anna (Emma Thompson) out on a new mission.
Out to catch him is local police investigator Escherich (Daniel Brühl) but in an age before CCTV that’s no easy task and with increasing SS pressure the stakes for Escherich steadily increase. For Otto and Anna, the stress is there but both are resigned to their fate: with their son stolen from them for an unjust cause they are an island of indifference in an unholy land. Both are ‘alone in Berlin’.
Daniel Brühl as police detective Escherich getting more than he bargained for from the SS.
After 70 years it still chills the blood to see German locations decked out in Nazi regalia, but one of the joys of this film is this rendering of life in wartime Berlin: starting with jubilation at German progress prior to D-Day and turning to despair and genuine danger as the tide turns towards 1945. In a pretty bleak film there are touches of black comedy now and then: Otto’s carpentry company is being encouraged “by the Fuhrer” to double and triple their output… of coffins.
A (very clean) Berlin, decked out with Nazi regalia.
More joy comes from the star turns of Gleeson and Thompson, both of who deliver on their emotionally challenging roles. Gleeson in particular makes a very believable German with a sour demeanor and a steely determination. But the star acting turn for me goes to the wonderful Daniel Brühl (“Rush“) as the tormented police detective, bullied into an ethical corner by the SS. The finale of the film – whilst not seeming quite believable – makes for a nicely unexpected twist.
The Nazi Womens’ League out on another fund-raising sweep, providing Thompson with one of her best scenes in the film with an Oberführer’s wife.
Based on a novel by Hans Fallada, the lead writing credits for the piece are shared between Achim von Borries and the director Vincent Perez – in a rare directorial outing for the Swiss actor. The script exudes a melancholic gloom and at times expresses beautifully both the grief and love shared by this older couple. But some of the dialogue needs more work and we don’t see enough of Thompson in the early part of the film where her motivations should be being developed. This rather comes down to a lack of focus by the director. While the primary story of the card distribution is slight, it is compelling and a detour into a sub-story about an old Jewish lodger living upstairs is unnecessary and detracts from the overall story arc. I would have far preferred if the running time had been a tight 90 minutes just focused on Otto’s mission. One final comment on the script: did I mishear that Anna claimed to have a 6 year old child during an air raid scene? I know Emma Thompson looks great for her age, but….
Otto and Elise Hampel – the real life characters on which the film’s Otto and Anna Quangel were based.
I can’t finish this without commending the beautiful piano score of Alexandre Desplat. From the first note I knew it was him – he has such a characteristic style – and his clever use of the score complements the film exquisitely. “Small” films like this tend to rather disappear into the woodwork for Oscar consideration, but here’s a soundtrack that I think should be considered: (but what do I know… when “Nocturnal Animals” wasn’t even nominated in one of the Oscar crimes of the century!).
In summary, I found this a thoughtful and thought-provoking film, that – despite some of the mean reviews I’ve seen – I thought was well crafted and with excellent production design by Jean-Vincent Puzos (“Amour”). It will be particularly appreciated by older audiences looking for an untold story from the war, and by all lovers of fine acting performances by the three leads.
Bob Mann (459 KP) rated Dune (2021) in Movies
Oct 28, 2021
“He’s Not The Messiah – He’s a Very Naughty Boy!”
Certain works of fiction have been labelled with the tag of “unfilmable”, and Frank Herbert’s 1965 novel “Dune” is one of those. It’s full of exposition done as internal monologues – which screams “movie voiceover”. And regular readers will know my hatred of those!
Amazingly, Denis Villeneuve manages to pull off the impossible with his version of Dune (part 1), which I saw last night as part of a Cineworld Unlimited preview event. It’s close to being a movie masterpiece.
Plot Summary:
The desert planet of Arrakis is home to the Freman tribe but is a political battleground since it is the only known source of ‘Spice’: a substance that enables interplanetary travel.
Paul (Timothée Chalamet) is the heir to the throne of the House of Atreides, headed by his father Duke Leto Atreides (Oscar Isaac). His mother (Rebecca Ferguson) is Leto’s concubine and possessed with hereditary gifts: mystical powers that make her part of a sect of galactic ‘witches’ with mystical powers. But the House of Atreides is gaining in power, and the Emperor throws a political spanner into the works by evicting the vicious House of Harkonnen from Arrakis and giving it to Atreides. This puts both Houses on the path of war.
Certification:
US: PG-13. UK: 12A.
Talent:
Starring: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Zendaya, Jason Momoa, Stellan Skarsgård, Josh Brolin, Javier Bardem, Dave Bautista, Charlotte Rampling.
Directed by: Denis Villeneuve.
Written by: Jon Spaihts, Denis Villeneuve and Eric Roth. (Based on the novel by Frank Herbert).
“Dune” Review: Positives:
My 5*’s for this one goes for the overall vision, which is grandiose with scenes that stick in the brain. As he demonstrated in “Arrival“, Villeneuve likes to go for huge spacecraft that hang “in the sky in much the same way that bricks don’t”*. And the ships in this vision are just HUGE.
The ensemble cast does a great job, with Chalamet, Isaac and Ferguson being particularly impressive. Stellan Skarsgård (looking like he is about to tell “a very amusing story about a goat”, if you get that movie reference!) looks to have the most gruelling acting job, having to emerge from, and descend into, a bath of black goo!
Much like Villeneuve’s “Blade Runner 2049“, this movie has cinematography that is worthy of framing and sticking on your wall. (Greig Fraser is the man behind the camera here).
Hans Zimmer‘s music is phenomenal. I’m not sure it’s a good ‘sit down and listen to’ sort of soundtrack, but it fits the movie beautifully.
* I used this Douglas Adams quote for my “Arrival” review, and then Mark Kermode used the same quote: I like to think he read my review!
Negatives:
It wasn’t a problem for me, but I expect some will consider the movie to be too much mood and not enough action. I’ve seen some comment that the film was “emotionally empty”: but I really didn’t feel that, and am well-invested in the story ready for “Part 2”.
This is probably faithful to the books, but given all of the advanced spacecraft technology on show, and laser/blaster technology, it seems bonkers that when we get to hand-to-hand combat between the armies that we get into “swords and sandals” territory.
Observation:
There’s nothing new under the Tatooine suns. And so much of this film has you linking the concepts back to “Star Wars”:
“The Force” is now “The Way”
The Jedi are the ‘Ben and Jerry Set’. (Well, that’s what it sounded like to me… and I don’t even like Ice Cream!)
Both films centre on a Messiah-like “chosen one”, foretold by legend
“Spice” also features in “Star Wars” with “spice runners” (as in the Millenium Falcon doing the ‘Kessel Run’)
There’s even a ‘pit of sarlaac’ moment in “Dune”.
Of course, since Frank Herbert wrote “Dune” in 1965, there’s a significant question as to who is plagiarising who here!
Summary Thoughts on “Dune”
At 2 hours 35 minutes, it’s YET ANOTHER long movie: cementing October 2021 as the month of long movies. (I just did a quick tally, and of the six films I’ve seen this month they average 139 minutes in length: and that’s with “Venom: Let There Be Carnage” dragging the average down!)
But this is a movie that MUST be seen on the big screen. It’s a memorable movie experience and highly recommended.
I can’t wait for Villeneuve’s “Part 2”, currently in pre-production.
Amazingly, Denis Villeneuve manages to pull off the impossible with his version of Dune (part 1), which I saw last night as part of a Cineworld Unlimited preview event. It’s close to being a movie masterpiece.
Plot Summary:
The desert planet of Arrakis is home to the Freman tribe but is a political battleground since it is the only known source of ‘Spice’: a substance that enables interplanetary travel.
Paul (Timothée Chalamet) is the heir to the throne of the House of Atreides, headed by his father Duke Leto Atreides (Oscar Isaac). His mother (Rebecca Ferguson) is Leto’s concubine and possessed with hereditary gifts: mystical powers that make her part of a sect of galactic ‘witches’ with mystical powers. But the House of Atreides is gaining in power, and the Emperor throws a political spanner into the works by evicting the vicious House of Harkonnen from Arrakis and giving it to Atreides. This puts both Houses on the path of war.
Certification:
US: PG-13. UK: 12A.
Talent:
Starring: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Zendaya, Jason Momoa, Stellan Skarsgård, Josh Brolin, Javier Bardem, Dave Bautista, Charlotte Rampling.
Directed by: Denis Villeneuve.
Written by: Jon Spaihts, Denis Villeneuve and Eric Roth. (Based on the novel by Frank Herbert).
“Dune” Review: Positives:
My 5*’s for this one goes for the overall vision, which is grandiose with scenes that stick in the brain. As he demonstrated in “Arrival“, Villeneuve likes to go for huge spacecraft that hang “in the sky in much the same way that bricks don’t”*. And the ships in this vision are just HUGE.
The ensemble cast does a great job, with Chalamet, Isaac and Ferguson being particularly impressive. Stellan Skarsgård (looking like he is about to tell “a very amusing story about a goat”, if you get that movie reference!) looks to have the most gruelling acting job, having to emerge from, and descend into, a bath of black goo!
Much like Villeneuve’s “Blade Runner 2049“, this movie has cinematography that is worthy of framing and sticking on your wall. (Greig Fraser is the man behind the camera here).
Hans Zimmer‘s music is phenomenal. I’m not sure it’s a good ‘sit down and listen to’ sort of soundtrack, but it fits the movie beautifully.
* I used this Douglas Adams quote for my “Arrival” review, and then Mark Kermode used the same quote: I like to think he read my review!
Negatives:
It wasn’t a problem for me, but I expect some will consider the movie to be too much mood and not enough action. I’ve seen some comment that the film was “emotionally empty”: but I really didn’t feel that, and am well-invested in the story ready for “Part 2”.
This is probably faithful to the books, but given all of the advanced spacecraft technology on show, and laser/blaster technology, it seems bonkers that when we get to hand-to-hand combat between the armies that we get into “swords and sandals” territory.
Observation:
There’s nothing new under the Tatooine suns. And so much of this film has you linking the concepts back to “Star Wars”:
“The Force” is now “The Way”
The Jedi are the ‘Ben and Jerry Set’. (Well, that’s what it sounded like to me… and I don’t even like Ice Cream!)
Both films centre on a Messiah-like “chosen one”, foretold by legend
“Spice” also features in “Star Wars” with “spice runners” (as in the Millenium Falcon doing the ‘Kessel Run’)
There’s even a ‘pit of sarlaac’ moment in “Dune”.
Of course, since Frank Herbert wrote “Dune” in 1965, there’s a significant question as to who is plagiarising who here!
Summary Thoughts on “Dune”
At 2 hours 35 minutes, it’s YET ANOTHER long movie: cementing October 2021 as the month of long movies. (I just did a quick tally, and of the six films I’ve seen this month they average 139 minutes in length: and that’s with “Venom: Let There Be Carnage” dragging the average down!)
But this is a movie that MUST be seen on the big screen. It’s a memorable movie experience and highly recommended.
I can’t wait for Villeneuve’s “Part 2”, currently in pre-production.
Daniel Boyd (1066 KP) rated Thor: Ragnarok (2017) in Movies
Oct 30, 2017 (Updated Oct 30, 2017)
Amazing visuals (2 more)
Witty dialogue
Surprise appearances
Inconsistent tone (2 more)
Anti climax
Wasted villain
The Worst Avenger's Best Movie
Contains spoilers, click to show
After seeing Thor: Ragnarok, I feel like the filmmakers were so paranoid about not churning out another formulaic, checklist of a Marvel movie that they chucked a whole bunch of disparate ideas into this mixing pot of a film and hoped that some of it would work. To some extent they were right; some of it does work, but some of it really doesn't. The stuff that doesn't work would probably work okay in a separate movie, but here it just provides a lack of cohesion and brings a jolting change of tone to many of the film's scenes.
Let me elaborate on what I mean and there will be spoilers from this point on. This movie should have been at least three different movies:
There should have been a movie about Hela's return to Asgard, showing her recruiting Skurge and raising her army of the dead and showing Thor and Loki being forced to put their differences aside and having to work together to defeat their more powerful, evil sister.
There should have been another movie about Thor ending up on Sakaar and having to battle Hulk and other competitors and eventually starting an uprising against the Grandmaster.
Then there should have been a third movie about Ragnarok and striving to prevent that event from occurring and defeating Surtur.
The plot elements of Ragnarok could have been split into three movies and it would mean that certain characters wouldn't have been wasted and that the big events that take place would have had more weight and gravitas to them, instead of just being brushed off in favour of getting to the next punch-line.
For example, Odin dies in this film and Thor and Loki deal with it and move on in a matter of seconds. There are no emotional repercussions whatsoever. Another example is the Warriors Three appearing in a single scene, having no dialogue and being killed in a matter of seconds of being onscreen. They attempt a character arc with Skurge, but again Karl Urban is onscreen for such a small amount of time that no resolution is felt following his sacrifice at the end of the movie. As soon as Cate Blanchett starts to show some potential as a memorable Marvel villain, the movie cuts away to yet another scene of Hulk and Thor bantering on Sakaar. Idris Elba is wasted too, having barely any dialogue and a very dull subplot. Jeff Goldblum is used purely as a gimmick and again is wasted by not having anywhere near enough screen time. I normally like seeing Tessa Thompson in things, but even she phoned it in here, with her accent taking on multiple different tones and dialects from scene to scene. Then, at the end of the movie, it is like the filmmakers suddenly remembered, 'oh that's right we need to conclude that Ragnarok subplot that we started at the beginning of the movie.' You know the FU***NG TITLE OF THE MOVIE. And so that gets tacked on at the end to sort of bring a conclusion to all of the other multiple subplots and lazily wrap up the movie.
The sheer amount of ideas that they attempted to incorporate here, makes so many elements of the movie's plot feel underdeveloped and although most of these separate parts could have worked if they were split up and fleshed out, here they all just end up falling flat by the end of the movie making the film feel anti-climatic as a whole.
Don't get me wrong, there is also a lot here that works too. I thought the cameos from Matt Damon, Luke Hemsworth and Sam Neill was awesome. I liked the Doctor Strange appearance. I like how they had Thor lose his eye and I especially like how they managed to keep that out of all of the trailer and marketing. The trailers did ruin some things though, if we didn't already know that Mjolnir was going to get destroyed through seeing the trailers, it would have had more of an impact and all the talk about the vicious rival that Thor would have to face in the gladiator ring would have been way more effective if we didn't already know that it was going to be the Hulk.
Let's end things on a high note, the visuals were spectacular and this movie is worth going to see in theatres just for this alone. The CGI was incredible and the soundtrack was pretty great too. Overall this is a fun movie, but if like me you have been invested in these characters for the last five years, to see some of them go out with a whimper and some long term story arcs come to a disappointing conclusion, is unsatisfying to say the least.
Let me elaborate on what I mean and there will be spoilers from this point on. This movie should have been at least three different movies:
There should have been a movie about Hela's return to Asgard, showing her recruiting Skurge and raising her army of the dead and showing Thor and Loki being forced to put their differences aside and having to work together to defeat their more powerful, evil sister.
There should have been another movie about Thor ending up on Sakaar and having to battle Hulk and other competitors and eventually starting an uprising against the Grandmaster.
Then there should have been a third movie about Ragnarok and striving to prevent that event from occurring and defeating Surtur.
The plot elements of Ragnarok could have been split into three movies and it would mean that certain characters wouldn't have been wasted and that the big events that take place would have had more weight and gravitas to them, instead of just being brushed off in favour of getting to the next punch-line.
For example, Odin dies in this film and Thor and Loki deal with it and move on in a matter of seconds. There are no emotional repercussions whatsoever. Another example is the Warriors Three appearing in a single scene, having no dialogue and being killed in a matter of seconds of being onscreen. They attempt a character arc with Skurge, but again Karl Urban is onscreen for such a small amount of time that no resolution is felt following his sacrifice at the end of the movie. As soon as Cate Blanchett starts to show some potential as a memorable Marvel villain, the movie cuts away to yet another scene of Hulk and Thor bantering on Sakaar. Idris Elba is wasted too, having barely any dialogue and a very dull subplot. Jeff Goldblum is used purely as a gimmick and again is wasted by not having anywhere near enough screen time. I normally like seeing Tessa Thompson in things, but even she phoned it in here, with her accent taking on multiple different tones and dialects from scene to scene. Then, at the end of the movie, it is like the filmmakers suddenly remembered, 'oh that's right we need to conclude that Ragnarok subplot that we started at the beginning of the movie.' You know the FU***NG TITLE OF THE MOVIE. And so that gets tacked on at the end to sort of bring a conclusion to all of the other multiple subplots and lazily wrap up the movie.
The sheer amount of ideas that they attempted to incorporate here, makes so many elements of the movie's plot feel underdeveloped and although most of these separate parts could have worked if they were split up and fleshed out, here they all just end up falling flat by the end of the movie making the film feel anti-climatic as a whole.
Don't get me wrong, there is also a lot here that works too. I thought the cameos from Matt Damon, Luke Hemsworth and Sam Neill was awesome. I liked the Doctor Strange appearance. I like how they had Thor lose his eye and I especially like how they managed to keep that out of all of the trailer and marketing. The trailers did ruin some things though, if we didn't already know that Mjolnir was going to get destroyed through seeing the trailers, it would have had more of an impact and all the talk about the vicious rival that Thor would have to face in the gladiator ring would have been way more effective if we didn't already know that it was going to be the Hulk.
Let's end things on a high note, the visuals were spectacular and this movie is worth going to see in theatres just for this alone. The CGI was incredible and the soundtrack was pretty great too. Overall this is a fun movie, but if like me you have been invested in these characters for the last five years, to see some of them go out with a whimper and some long term story arcs come to a disappointing conclusion, is unsatisfying to say the least.
TheDefunctDiva (304 KP) rated Bohemian Rhapsody (2018) in Movies
Feb 17, 2019 (Updated Feb 17, 2019)
I want it all. I want it all. I want it all. And I want it now
Contains spoilers, click to show
“I want it all. I want it all. I want it all. And I want it now.”
“I Want It All,” Queen, The Miracle, 1989
I am hating having to write this review though I feel compelled to do so. I bought this movie knowing I would like it. I didn’t have much money left in my checking account, but I thought, yes, this would be worth what little I had left to spend. I gifted it to my kiddo for Valentine’s Day knowing she would surely love it, too.
I didn’t love it. I didn’t even really like it.
I haven’t made a mistake this bad since the much-renowned Lost in Translation. Why the ire? Because Bohemian Rhapsody taught me some things, but not enough. Not what I wanted to know. I wanted to learn more than what a rudimentary Google search would have taught me about the band. Instead, I obtained only basic information about the band’s success. I think to really do the band justice you would need a series. Maybe that is my problem. The film had too much general information crammed into it, and I needed MORE, PEOPLE.
I should have liked this film because it revolved around Queen’s music. The best thing about this film is the soundtrack. I think contemplating some of Queen’s lyrics throughout would have really enhanced the film, though. They talked about the poetry but didn’t examine it. And I was disappointed.
Malek’s Mercury just didn’t do it for me though I admire his dedication to the craft. I do think he did an excellent job, but there was something missing that I can’t put my finger on. It felt very much like pretending. And I can’t even adequately explain why. I did love the costuming though. Especially the hair. The transformation of Mercury from boy to man was impressive. It made me want to grow a mustache.
The supporting characters were stereotypical. The supporting cast members might have been cardboard cutouts for all of the attachment I felt to them. The film also didn’t undertake the concept of what it meant to be LGBT in that era. Therefore, it didn’t fully explore the ramifications of the risks that Mercury was taking both professionally and personally. Conflicts just didn’t resonate with the high drama I felt they should have especially considering the in-your-face elements of Mercury’s personality. The passion just wasn’t there. And a real miracle would have been adequately examining the collaboration between the musicians.
I also felt the film was generally stilted by the writing, which seemed comprised of the most overused clichés in the English language.
Bohemian Rhapsody didn’t delve into the AIDS crisis deep enough to evoke much of an emotional response in me. I appreciate that Freddie Mercury didn’t want his life to be a “cautionary tale.” I get that. But the tragedy of his death seemed really downplayed to me for some reason. I wasn’t expecting the emotional response you would get from a film like Philadelphia. But something close would have been nice. Maybe I’ve seen too many films that focus on tragedy and expected to be weeping by the end of the film. Or the beginning of the film, or at any point during the film. But I was left feeling hollow.
The crowd scene from Live Aid and the Live Aid performance rightfully stole what remained of this show. The looks on the faces of the crowd. The expanse of the crowd. The scene reflected what it must have felt like to be a performer or a fan in such a large venue. Malek was awesome in this scene and deserves his due. It might be what earns him the Oscar.
I hate to say it, but I liked Mark Wahlberg and Rock Star (2001) better than I liked this movie. I just felt they could have done a better job with it. It didn’t live up to the hype.
And now I’ve touched upon the real issue. I could never get enough of this band, or of Mercury, and DAMNIT. The experience they provided fans around the world was just gone too soon.
And I just don’t feel the movie did the band or Mercury’s life justice.
I spent my Saturday listening to music in my car, wondering what a septuagenarian Mercury would have thought of today’s saturated music market. I imagine he would have been like my late father, fascinated by both the popular and the underground.
Ok, NOW I’m crying.
But touch my tears, with your lips
Touch my world, with your fingertips.
And we can have forever
And we can love forever
Forever is our today…
Queen, “Who Wants to Live Forever,” It’s Kind of Magic, 1986
“I Want It All,” Queen, The Miracle, 1989
I am hating having to write this review though I feel compelled to do so. I bought this movie knowing I would like it. I didn’t have much money left in my checking account, but I thought, yes, this would be worth what little I had left to spend. I gifted it to my kiddo for Valentine’s Day knowing she would surely love it, too.
I didn’t love it. I didn’t even really like it.
I haven’t made a mistake this bad since the much-renowned Lost in Translation. Why the ire? Because Bohemian Rhapsody taught me some things, but not enough. Not what I wanted to know. I wanted to learn more than what a rudimentary Google search would have taught me about the band. Instead, I obtained only basic information about the band’s success. I think to really do the band justice you would need a series. Maybe that is my problem. The film had too much general information crammed into it, and I needed MORE, PEOPLE.
I should have liked this film because it revolved around Queen’s music. The best thing about this film is the soundtrack. I think contemplating some of Queen’s lyrics throughout would have really enhanced the film, though. They talked about the poetry but didn’t examine it. And I was disappointed.
Malek’s Mercury just didn’t do it for me though I admire his dedication to the craft. I do think he did an excellent job, but there was something missing that I can’t put my finger on. It felt very much like pretending. And I can’t even adequately explain why. I did love the costuming though. Especially the hair. The transformation of Mercury from boy to man was impressive. It made me want to grow a mustache.
The supporting characters were stereotypical. The supporting cast members might have been cardboard cutouts for all of the attachment I felt to them. The film also didn’t undertake the concept of what it meant to be LGBT in that era. Therefore, it didn’t fully explore the ramifications of the risks that Mercury was taking both professionally and personally. Conflicts just didn’t resonate with the high drama I felt they should have especially considering the in-your-face elements of Mercury’s personality. The passion just wasn’t there. And a real miracle would have been adequately examining the collaboration between the musicians.
I also felt the film was generally stilted by the writing, which seemed comprised of the most overused clichés in the English language.
Bohemian Rhapsody didn’t delve into the AIDS crisis deep enough to evoke much of an emotional response in me. I appreciate that Freddie Mercury didn’t want his life to be a “cautionary tale.” I get that. But the tragedy of his death seemed really downplayed to me for some reason. I wasn’t expecting the emotional response you would get from a film like Philadelphia. But something close would have been nice. Maybe I’ve seen too many films that focus on tragedy and expected to be weeping by the end of the film. Or the beginning of the film, or at any point during the film. But I was left feeling hollow.
The crowd scene from Live Aid and the Live Aid performance rightfully stole what remained of this show. The looks on the faces of the crowd. The expanse of the crowd. The scene reflected what it must have felt like to be a performer or a fan in such a large venue. Malek was awesome in this scene and deserves his due. It might be what earns him the Oscar.
I hate to say it, but I liked Mark Wahlberg and Rock Star (2001) better than I liked this movie. I just felt they could have done a better job with it. It didn’t live up to the hype.
And now I’ve touched upon the real issue. I could never get enough of this band, or of Mercury, and DAMNIT. The experience they provided fans around the world was just gone too soon.
And I just don’t feel the movie did the band or Mercury’s life justice.
I spent my Saturday listening to music in my car, wondering what a septuagenarian Mercury would have thought of today’s saturated music market. I imagine he would have been like my late father, fascinated by both the popular and the underground.
Ok, NOW I’m crying.
But touch my tears, with your lips
Touch my world, with your fingertips.
And we can have forever
And we can love forever
Forever is our today…
Queen, “Who Wants to Live Forever,” It’s Kind of Magic, 1986
Lee (2222 KP) rated The Umbrella Academy in TV
Mar 4, 2019
I hadn’t even heard anything about The Umbrella Academy before, let alone read any of the Dark Horse comic series on which this Netflix show is adapted from. The premise, and the trailer for the show, didn’t initially appeal to me if I’m honest. But, it turns out that Netflix have only gone and done it again, turning out yet another binge worthy little gem of a show.
The setup for Umbrella Academy is that one day in 1989, 43 babies were born to mothers who were not pregnant when that day began. An eccentric billionaire, Sir Reginald Hargreeves, purchases seven of those babies and raises them, training them to become a powerful crime fighting team. Living with them at the Umbrella Academy is an android Nanny, who the children refer to as Mom, and a well spoken elderly chimpanzee butler called Dr Pogo (impressive work from Weta, the team behind the recent Planet of The Apes trilogy). Each child is known only by a number given to them by their ‘Father’, Sir Reginald – Number 1 through to Number 7 – ranked in order of their usefulness to him!
Fast forward to present day and the team have all but disbanded, with what’s left of them living out problem filled adult lives. Number 1 (now known as Luther) has been living on the moon for the past 4 years. He possesses super strength and has a very bulky appearance, wearing roll neck jumpers and a long coat. Number 2 (now Diego) is a vigilante and a bit of a knife expert. Number 3 (Allison) is now a famous actress, gifted with the ability to alter reality with her voice. Number 4 (Klaus) is a junkie who can communicate with the dead. Number 5 is able to perform small teleportations, or time jumps, but has been missing since they were all teenagers. Number 6 (Ben) was killed prior to the events in this show and Number 7 (Vanya) is believed not to have any special abilities, always being neglected and overlooked by the others while growing up. When news reaches them all that Sir Reginald has died, they all return to the academy.
The opening episode of The Umbrella Academy is packed full of thrills, mystery and a very exciting setup for the remainder of the season. We get a taste of the childrens abilities and teamwork, impressively taking out a bunch of bad guys. Then in present day, Number 5 suddenly appears from a portal in the sky. He claims to have spent decades living in a post-apocalyptic future, having jumped there all those years ago, but unable to return. He survived there until the age of 58, but on his return to present day he returned to his 13 year old appearance. We get a glimpse of the apocalyptic world that Number 5 arrived in and discover that whatever causes it is due to happen in just a few days from present day.
From there, the show suffers with what a lot of high concept shows tend to suffer from – second episode drag. That’s not to say that it’s boring, but we begin to delve into some of the Daddy issues that the various team members have, along with issues some of them have with each other and it’s a sharp contrast to the impressive opening episode. If I’m honest, by the end of episode 3 I was considering giving up, but I stuck with it. I really grew to like this dysfunctional family, and as the show dips back and forth between their teenage years and the present day, I really became invested in the show and its characters. They begin to band together to work through their issues and try and find a way of working out what causes the impending apocalypse, and how to stop it.
There are certainly consequences which play out throughout the season though. We discover that during his time in the future, Number 5 became involved in an organisation which works to correct events in time in order to ensure the destined timeline plays out as it should. Because of Number 5’s return to the present, he is now being hunted by a pair of black suited assassins called Hazel and Cha-Cha. Consequently, the body count in this show is pretty high, usually accompanied by a killer soundtrack!
I’m glad I stuck with it, because the whole thing soon became compulsive viewing, building to an incredibly entertaining and satisfying finale. With the apocalypse imminent, the whole team finally work together once more – a few twists and turns along the way, and a great cliffhanger setting things up for another season. I really loved everything about this show and the way that something so completely bonkers is presented so well, so believable and so intense.
The setup for Umbrella Academy is that one day in 1989, 43 babies were born to mothers who were not pregnant when that day began. An eccentric billionaire, Sir Reginald Hargreeves, purchases seven of those babies and raises them, training them to become a powerful crime fighting team. Living with them at the Umbrella Academy is an android Nanny, who the children refer to as Mom, and a well spoken elderly chimpanzee butler called Dr Pogo (impressive work from Weta, the team behind the recent Planet of The Apes trilogy). Each child is known only by a number given to them by their ‘Father’, Sir Reginald – Number 1 through to Number 7 – ranked in order of their usefulness to him!
Fast forward to present day and the team have all but disbanded, with what’s left of them living out problem filled adult lives. Number 1 (now known as Luther) has been living on the moon for the past 4 years. He possesses super strength and has a very bulky appearance, wearing roll neck jumpers and a long coat. Number 2 (now Diego) is a vigilante and a bit of a knife expert. Number 3 (Allison) is now a famous actress, gifted with the ability to alter reality with her voice. Number 4 (Klaus) is a junkie who can communicate with the dead. Number 5 is able to perform small teleportations, or time jumps, but has been missing since they were all teenagers. Number 6 (Ben) was killed prior to the events in this show and Number 7 (Vanya) is believed not to have any special abilities, always being neglected and overlooked by the others while growing up. When news reaches them all that Sir Reginald has died, they all return to the academy.
The opening episode of The Umbrella Academy is packed full of thrills, mystery and a very exciting setup for the remainder of the season. We get a taste of the childrens abilities and teamwork, impressively taking out a bunch of bad guys. Then in present day, Number 5 suddenly appears from a portal in the sky. He claims to have spent decades living in a post-apocalyptic future, having jumped there all those years ago, but unable to return. He survived there until the age of 58, but on his return to present day he returned to his 13 year old appearance. We get a glimpse of the apocalyptic world that Number 5 arrived in and discover that whatever causes it is due to happen in just a few days from present day.
From there, the show suffers with what a lot of high concept shows tend to suffer from – second episode drag. That’s not to say that it’s boring, but we begin to delve into some of the Daddy issues that the various team members have, along with issues some of them have with each other and it’s a sharp contrast to the impressive opening episode. If I’m honest, by the end of episode 3 I was considering giving up, but I stuck with it. I really grew to like this dysfunctional family, and as the show dips back and forth between their teenage years and the present day, I really became invested in the show and its characters. They begin to band together to work through their issues and try and find a way of working out what causes the impending apocalypse, and how to stop it.
There are certainly consequences which play out throughout the season though. We discover that during his time in the future, Number 5 became involved in an organisation which works to correct events in time in order to ensure the destined timeline plays out as it should. Because of Number 5’s return to the present, he is now being hunted by a pair of black suited assassins called Hazel and Cha-Cha. Consequently, the body count in this show is pretty high, usually accompanied by a killer soundtrack!
I’m glad I stuck with it, because the whole thing soon became compulsive viewing, building to an incredibly entertaining and satisfying finale. With the apocalypse imminent, the whole team finally work together once more – a few twists and turns along the way, and a great cliffhanger setting things up for another season. I really loved everything about this show and the way that something so completely bonkers is presented so well, so believable and so intense.
Lee (2222 KP) rated Captain Marvel (2019) in Movies
Mar 9, 2019
Following the traumatic and devastating events of last years Avengers: Infinity War, Captain Marvel finally arrives on our screens with huge expectation, anticipation and excitement. As Nick Fury was reduced to dust in the final moments of Infinity War, along with half of all living things in the universe, we saw that he'd just managed to send out an SOS message. The recipient of that message was revealed to be Captain Marvel, so far absent from the cinematic universe but labelled outside of it as "Marvel's biggest female hero", and "quite possibly Marvel's mightiest Avenger". With mad Titan Thanos still on the loose, and half of all life to restore, there's clearly a great deal resting on her shoulders. Thankfully we'll get to see how that all plays out in just over a month when Endgame hits our cinemas, but in the meantime we need to get up to speed on the origins of Captain Marvel.
But this isn't your standard origin story. When we first join Captain Marvel, or Vers as she is currently known, she is already part of the Kree Starforce, fighting alongside her mentor Yon-Rogg (Jude Law) as they take on shape-shifting enemies, the Skrulls. She already has a considerable amount of power, although she has no memory of how exactly she came about it, or of any kind of life preceding it. Following an early morning bit of fight training, with Yon-Rogg urging her to try and control her emotions and her power, it's straight into the action as the Starforce team are sent out on an important field mission. Things don't quite go according to plan though, and when they're ambushed by a group of Skrulls, Vers is kidnapped by Skrull commander Talos (Ben Mendelsohn) and taken to their ship for interrogation.
The interrogation has a kind of Total Recall effect on Vers - unlocking memories of her life as a child, growing up with friends, military training and more. She manages to mount an escape, fleeing the ship and crash landing on planet C-53 (or as we know it, Earth), along with a bunch of Skrulls. She lands in the middle of a Blockbuster video store, with the Skrulls landing on a nearby beach and assuming the shape of some surfing humans in order to blend in with the locals. It's not long before the dramatic arrival has drawn the attention of a couple of SHIELD agents by the name of Fury and Coulson, both looking a lot younger than we're used to, due to the fact that we're in 1995. The de-aging effect, used sparingly but impressively in previous Marvel movies is simply incredible here, given that it is being relied upon for the entire movie in order to make the young Nick Fury believable. And it totally works too.
Up until this point in the movie, I felt that it was all just a little bit bland. We don't really get much time to get acquainted with our hero, or the alien world she inhabits, and the space-team-field-mission elements have all been done previously, and much better, in the Guardians of the Galaxy movies. Coincidentally, Ronan and Korath who star in those movies both appear early on in Captain Marvel, providing some nice backstory for them and a link to the rest of the cinematic universe. It's only when Vers arrives on Earth, and teams up with Nick Fury in order to stop the Skrull invasion, that the movie really finds its footing, becoming a great deal more interesting and enjoyable. Things really lighten up too, accompanied by a great 90s soundtrack and giving off a cool 90s buddy cop movie vibe. It's also great to see Nick Fury acting much less serious and having a lot more to do than in previous Marvel movies. As for Vers, we finally begin to learn a lot more about her too as she begins to piece together her forgotten history and learn more about her life on Earth as Carol Danvers.
The movie is made all the more fun by a couple of very good additional characters. Ben Mendelsohn is outstanding as Talos, providing just the right combination of menace and humour. Special mention also for Goose the cat, who joins Danvers and Fury on their journey. Although, if you're familiar with the comics (where he is known as Chewie), you'll know that there's more to him that meets the eye and he literally manages to steal every single scene he's in, providing some of the movies laugh out loud and surprising moments.
The final third of the movie is where things really kick in though with Carol Danvers unlocking her full potential, despite being repeatedly told throughout life that she's too emotional and too weak. Unleashing hell in an epic, breathtaking and extremely satisfying space battle. With just over a month to go until the release of Endgame, Thanos better be scared. He's not going to know what hit him!
But this isn't your standard origin story. When we first join Captain Marvel, or Vers as she is currently known, she is already part of the Kree Starforce, fighting alongside her mentor Yon-Rogg (Jude Law) as they take on shape-shifting enemies, the Skrulls. She already has a considerable amount of power, although she has no memory of how exactly she came about it, or of any kind of life preceding it. Following an early morning bit of fight training, with Yon-Rogg urging her to try and control her emotions and her power, it's straight into the action as the Starforce team are sent out on an important field mission. Things don't quite go according to plan though, and when they're ambushed by a group of Skrulls, Vers is kidnapped by Skrull commander Talos (Ben Mendelsohn) and taken to their ship for interrogation.
The interrogation has a kind of Total Recall effect on Vers - unlocking memories of her life as a child, growing up with friends, military training and more. She manages to mount an escape, fleeing the ship and crash landing on planet C-53 (or as we know it, Earth), along with a bunch of Skrulls. She lands in the middle of a Blockbuster video store, with the Skrulls landing on a nearby beach and assuming the shape of some surfing humans in order to blend in with the locals. It's not long before the dramatic arrival has drawn the attention of a couple of SHIELD agents by the name of Fury and Coulson, both looking a lot younger than we're used to, due to the fact that we're in 1995. The de-aging effect, used sparingly but impressively in previous Marvel movies is simply incredible here, given that it is being relied upon for the entire movie in order to make the young Nick Fury believable. And it totally works too.
Up until this point in the movie, I felt that it was all just a little bit bland. We don't really get much time to get acquainted with our hero, or the alien world she inhabits, and the space-team-field-mission elements have all been done previously, and much better, in the Guardians of the Galaxy movies. Coincidentally, Ronan and Korath who star in those movies both appear early on in Captain Marvel, providing some nice backstory for them and a link to the rest of the cinematic universe. It's only when Vers arrives on Earth, and teams up with Nick Fury in order to stop the Skrull invasion, that the movie really finds its footing, becoming a great deal more interesting and enjoyable. Things really lighten up too, accompanied by a great 90s soundtrack and giving off a cool 90s buddy cop movie vibe. It's also great to see Nick Fury acting much less serious and having a lot more to do than in previous Marvel movies. As for Vers, we finally begin to learn a lot more about her too as she begins to piece together her forgotten history and learn more about her life on Earth as Carol Danvers.
The movie is made all the more fun by a couple of very good additional characters. Ben Mendelsohn is outstanding as Talos, providing just the right combination of menace and humour. Special mention also for Goose the cat, who joins Danvers and Fury on their journey. Although, if you're familiar with the comics (where he is known as Chewie), you'll know that there's more to him that meets the eye and he literally manages to steal every single scene he's in, providing some of the movies laugh out loud and surprising moments.
The final third of the movie is where things really kick in though with Carol Danvers unlocking her full potential, despite being repeatedly told throughout life that she's too emotional and too weak. Unleashing hell in an epic, breathtaking and extremely satisfying space battle. With just over a month to go until the release of Endgame, Thanos better be scared. He's not going to know what hit him!
Ryan Hill (152 KP) rated Suicide Squad (2016) in Movies
May 9, 2019 (Updated May 26, 2019)
"Oh, I'm not gonna kill you... I'm just gonna hurt you really, really bad."
Suicide Squad, aka Suicide Squandered, was one of my most anticipated movies of 2016. It would bring back to the big screen one of the most iconic comic book characters, Mr. J, and Harley Quinn would make her long awaited movie debut. It also promised to offer a different approach on the superhero genre, as it would star the villains instead of the good guys.
However, the movie delivers much less than what it teases. It begins on a high note, by introducing some characters in a fun, energetic and fast-paced way, in spite of the messy editing that makes these segments look like mini trailers. It goes downhill from there, showing only a couple of scenes more that could justify all the love these superhero movies get. Ultimately, what distinguishes these sequences from the mediocre ones are the characters in them and whether the audience cares for them or not.
Displaying some information on the screen about certain characters or telling their backstory doesn't necessarily contribute to their development, nor to the knowledge the viewer has about them. Therefore, it's impossible to care about all the characters and only those who are played by the (more) famous actors have any meaning to the audience.
Will Smith's Deadshot is the best of the bunch. Smith has this unique ability to deliver comedic lines that many comedians wish they had. His charisma drives most of the movie and so does his character's motivation. Right now, he could be the only character capable of leading a franchise of his own. Deadshot ended up establishing a mildly interesting dynamic with Joel Kinnaman's forgettable Rick Flag.
Margot Robbie's Harley Quinn is the other character we end up caring about. Robbie provides a fantastic performance and hits all the right notes. Her amazing backstory is only slightly explored and it has potential for a future psychological thriller movie. With the right script and direction, it could be an incredible film. People have already talked about her body and I can only add that she could possibly be right below Kate Hudson's Penny Lane on the sexiest female movie characters. She could.
I love all sorts of crazy and psychotic performances on screen. In fact, one of my favourites is Gary Oldman's in Leon. Jared Leto delivers another one of those performances. It's truly stellar, I loved his interpretation of the Joker and I believe Leto can still receive high praise for his extraordinary efforts. It could happen in the form of that Batman movie, by Matt Reeves.
Just to conclude my thought on the performances, I would like to add that Viola Davis is an excellent Amanda Waller, even more menacing that Cara Delevingne's witch, more on that later. Jai Courtney was great , he got all the best jokes. Jay Hernandez sounds a lot like Jon Bernthal's Frank Castle, doesn't he? His Diablo is the best character, out of the less interesting ones. I love Katana from CW's Arrow and it was disappointing to see that the screenwriters didn't care about her, even more so because Karen Fukuhara seems perfect for the role. Killer Croc has the best entrance on water ever.
A movie is as good as its villain, right? Indeed. Cara Delevingne's Enchantress could very well be the worst movie villain ever. Malekith is relegated to second place. Honestly, I don't know who's to blame. Sure, Delevingne's acting isn't top-notch, but the screenwriters made her dance (?) in a weird way and her voice is laughable. The final result is ridiculous and by far the worst aspect of the movie.
While Batman v Superman: Dawn of Justice was a dark film and proud to 'own that shit', Suicide Squad is ashamed to exhibit that dark side, which results in confusing tone shifts. One moment, it's clearly a DC movie, and another, it is a Marvel family friendly one. Therefore, the comedy sometimes doesn't land, at all. Besides, I also didn't find anything special about the way the action was shot. It was generic stuff, mostly.
Suicide Squad is a huge waste of potential, that could have benefited from some character development and sharp editing. Its greatest strenght is undoubtedly the work done by the talented cast. Could a different cut fix some of these issues? Probably, yes. I was going to attribute 6 stars to this, but a second watch didn't help, either. By the way, what was your favourite sequence? Spoiler alert: mine was the one in which Joker jumps into the acid to Harley.
However, the movie delivers much less than what it teases. It begins on a high note, by introducing some characters in a fun, energetic and fast-paced way, in spite of the messy editing that makes these segments look like mini trailers. It goes downhill from there, showing only a couple of scenes more that could justify all the love these superhero movies get. Ultimately, what distinguishes these sequences from the mediocre ones are the characters in them and whether the audience cares for them or not.
Displaying some information on the screen about certain characters or telling their backstory doesn't necessarily contribute to their development, nor to the knowledge the viewer has about them. Therefore, it's impossible to care about all the characters and only those who are played by the (more) famous actors have any meaning to the audience.
Will Smith's Deadshot is the best of the bunch. Smith has this unique ability to deliver comedic lines that many comedians wish they had. His charisma drives most of the movie and so does his character's motivation. Right now, he could be the only character capable of leading a franchise of his own. Deadshot ended up establishing a mildly interesting dynamic with Joel Kinnaman's forgettable Rick Flag.
Margot Robbie's Harley Quinn is the other character we end up caring about. Robbie provides a fantastic performance and hits all the right notes. Her amazing backstory is only slightly explored and it has potential for a future psychological thriller movie. With the right script and direction, it could be an incredible film. People have already talked about her body and I can only add that she could possibly be right below Kate Hudson's Penny Lane on the sexiest female movie characters. She could.
I love all sorts of crazy and psychotic performances on screen. In fact, one of my favourites is Gary Oldman's in Leon. Jared Leto delivers another one of those performances. It's truly stellar, I loved his interpretation of the Joker and I believe Leto can still receive high praise for his extraordinary efforts. It could happen in the form of that Batman movie, by Matt Reeves.
Just to conclude my thought on the performances, I would like to add that Viola Davis is an excellent Amanda Waller, even more menacing that Cara Delevingne's witch, more on that later. Jai Courtney was great , he got all the best jokes. Jay Hernandez sounds a lot like Jon Bernthal's Frank Castle, doesn't he? His Diablo is the best character, out of the less interesting ones. I love Katana from CW's Arrow and it was disappointing to see that the screenwriters didn't care about her, even more so because Karen Fukuhara seems perfect for the role. Killer Croc has the best entrance on water ever.
A movie is as good as its villain, right? Indeed. Cara Delevingne's Enchantress could very well be the worst movie villain ever. Malekith is relegated to second place. Honestly, I don't know who's to blame. Sure, Delevingne's acting isn't top-notch, but the screenwriters made her dance (?) in a weird way and her voice is laughable. The final result is ridiculous and by far the worst aspect of the movie.
While Batman v Superman: Dawn of Justice was a dark film and proud to 'own that shit', Suicide Squad is ashamed to exhibit that dark side, which results in confusing tone shifts. One moment, it's clearly a DC movie, and another, it is a Marvel family friendly one. Therefore, the comedy sometimes doesn't land, at all. Besides, I also didn't find anything special about the way the action was shot. It was generic stuff, mostly.
Suicide Squad is a huge waste of potential, that could have benefited from some character development and sharp editing. Its greatest strenght is undoubtedly the work done by the talented cast. Could a different cut fix some of these issues? Probably, yes. I was going to attribute 6 stars to this, but a second watch didn't help, either. By the way, what was your favourite sequence? Spoiler alert: mine was the one in which Joker jumps into the acid to Harley.
Movie Metropolis (309 KP) rated X-Men: Dark Phoenix (2019) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
Goodbye Normal Jean
It would be easy to write off X-Men: Dark Phoenix as a complete and utter disaster. With the departure of Bryan Singer (again) from the franchise, first-time director Simon Kinberg taking his place and rumours of costly reshoots pushing the budget north of $200million, things weren’t looking good for this adaptation of the popular Marvel comic.
Let’s not forget that the last time Fox tried to adapt this storyline we ended up with 2006’s The Last Stand, and the less said about that the better. Looking back over the last 20 years, the X-Men’s film franchise history has been chequered to say the least.
Nevertheless, this particular timeline that started with Matthew Vaughn’s adequate First Class, followed up by the excellent Days of Future Past and the flabby Apocalypse ends with Dark Phoenix. But is it worthy of your consideration?
This is the story of one of the X-Men’s most beloved characters, Jean Grey (Sophie Turner), as she evolves into the iconic Phoenix. During a rescue mission in space, Jean is hit by a cosmic force that transforms her into one of the most powerful mutants of all. Wrestling with this increasingly unstable power as well as her own personal demons, Jean spirals out of control, tearing the X-Men family apart and threatening to destroy the very fabric of our planet.
First things first – this is not a bad film. Yes, you heard me right. Leagues above Apocalypse and much better than The Last Stand, Dark Phoenix is a film that has been let down by catastrophically poor marketing. It’s not perfect, as we’ll discover in this review, but it tries a different approach, and for that it should be applauded.
For this reviewer, the modern day cast of characters has always been a weak spot for the series and that doesn’t really change in Dark Phoenix. James McAvoy remains miscast as Charles Xavier, especially since packing on the muscle for this Glass, but he performs much better here than he did in its predecessor. His transition into egotistical maniac, obsessed by the celebrity status the X-Men have acquired at the outset of the film is an intriguing diversion from where he was at the end of Apocalypse.
The younger cast are more likeable. Kodi Smitt-McPhee’s portrayal of Nightcrawler is fabulous and he gets more to do this time around. Tye Sheridan is great as young Cyclops and Evan Peters’ Quicksilver remains a highlight, though it’s unfortunate he’s cast aside relatively quickly – for fans of his set pieces from the previous two films, you’ll be disappointed here. Michael Fassbender and Nicholas Hoult bring their a-games, but they even seem a little bored by what’s going on. “You’re always sorry, Charles. And there’s always a speech. But nobody cares anymore!” bites Michael Fassbender at one point in the film – perhaps he’s onto something?
The first hour is perhaps the best the series has been since Days of Future Past
Of the female cast, Sophie Turner does her best with the material she’s given, and her Jean Grey is full of anger, angst and melancholy. The script struggles to provide her with any other emotion, but she’s a pleasing protagonist for the most part. Unfortunately, Jennifer Lawrence completely phones in her performance as Mystique and Jessica Chastain’s horrifically underwritten villain wastes a fabulous actor in a thankless role – much like Oscar Issac in Apocalypse.
With reports of heavy reshoots, you’d be forgiven for thinking that the film would end up a royal mess. Thankfully, the first hour is perhaps the best the series has been since Days of Future Past. Focusing on character development rather than all-out action, it’s a pleasing change and one which is more than welcome. Unfortunately, as time ticks away, the film loses all semblance of sanity and becomes muddled as it steamrolls towards an underwhelming climax.
And despite the reported budget of $200million, some of the shot choices and outfits feel cheap. It’s clear director Simon Kinberg is a fan of the series, but the X-Men costumes are bland, ill-fitting and a world away from what we’ve seen before. Closer to the comics they may be, but that’s not always a good thing. Elsewhere, the film feels cut-rate, almost TV-movie like and that’s a real shame because the special effects are top-notch. Mercifully, Hans Zimmer’s score is wonderful. The soaring orchestral soundtrack works brilliantly with the film – it’s probably the best music in the series to date.
Overall, X-Men: Dark Phoenix has been a victim of poor marketing with trailers that spoilt perhaps the most pivotal moment of the film (which we won’t spoil here). Nevertheless, the first hour is great and the special effects provide the film with some thrilling set pieces. It’s a shame then that the film offers up nothing new to the table despite some committed performances – this Phoenix just doesn’t quite rise to the occasion.
https://moviemetropolis.net/2019/06/07/x-men-dark-phoenix-review-goodbye-normal-jean/
Let’s not forget that the last time Fox tried to adapt this storyline we ended up with 2006’s The Last Stand, and the less said about that the better. Looking back over the last 20 years, the X-Men’s film franchise history has been chequered to say the least.
Nevertheless, this particular timeline that started with Matthew Vaughn’s adequate First Class, followed up by the excellent Days of Future Past and the flabby Apocalypse ends with Dark Phoenix. But is it worthy of your consideration?
This is the story of one of the X-Men’s most beloved characters, Jean Grey (Sophie Turner), as she evolves into the iconic Phoenix. During a rescue mission in space, Jean is hit by a cosmic force that transforms her into one of the most powerful mutants of all. Wrestling with this increasingly unstable power as well as her own personal demons, Jean spirals out of control, tearing the X-Men family apart and threatening to destroy the very fabric of our planet.
First things first – this is not a bad film. Yes, you heard me right. Leagues above Apocalypse and much better than The Last Stand, Dark Phoenix is a film that has been let down by catastrophically poor marketing. It’s not perfect, as we’ll discover in this review, but it tries a different approach, and for that it should be applauded.
For this reviewer, the modern day cast of characters has always been a weak spot for the series and that doesn’t really change in Dark Phoenix. James McAvoy remains miscast as Charles Xavier, especially since packing on the muscle for this Glass, but he performs much better here than he did in its predecessor. His transition into egotistical maniac, obsessed by the celebrity status the X-Men have acquired at the outset of the film is an intriguing diversion from where he was at the end of Apocalypse.
The younger cast are more likeable. Kodi Smitt-McPhee’s portrayal of Nightcrawler is fabulous and he gets more to do this time around. Tye Sheridan is great as young Cyclops and Evan Peters’ Quicksilver remains a highlight, though it’s unfortunate he’s cast aside relatively quickly – for fans of his set pieces from the previous two films, you’ll be disappointed here. Michael Fassbender and Nicholas Hoult bring their a-games, but they even seem a little bored by what’s going on. “You’re always sorry, Charles. And there’s always a speech. But nobody cares anymore!” bites Michael Fassbender at one point in the film – perhaps he’s onto something?
The first hour is perhaps the best the series has been since Days of Future Past
Of the female cast, Sophie Turner does her best with the material she’s given, and her Jean Grey is full of anger, angst and melancholy. The script struggles to provide her with any other emotion, but she’s a pleasing protagonist for the most part. Unfortunately, Jennifer Lawrence completely phones in her performance as Mystique and Jessica Chastain’s horrifically underwritten villain wastes a fabulous actor in a thankless role – much like Oscar Issac in Apocalypse.
With reports of heavy reshoots, you’d be forgiven for thinking that the film would end up a royal mess. Thankfully, the first hour is perhaps the best the series has been since Days of Future Past. Focusing on character development rather than all-out action, it’s a pleasing change and one which is more than welcome. Unfortunately, as time ticks away, the film loses all semblance of sanity and becomes muddled as it steamrolls towards an underwhelming climax.
And despite the reported budget of $200million, some of the shot choices and outfits feel cheap. It’s clear director Simon Kinberg is a fan of the series, but the X-Men costumes are bland, ill-fitting and a world away from what we’ve seen before. Closer to the comics they may be, but that’s not always a good thing. Elsewhere, the film feels cut-rate, almost TV-movie like and that’s a real shame because the special effects are top-notch. Mercifully, Hans Zimmer’s score is wonderful. The soaring orchestral soundtrack works brilliantly with the film – it’s probably the best music in the series to date.
Overall, X-Men: Dark Phoenix has been a victim of poor marketing with trailers that spoilt perhaps the most pivotal moment of the film (which we won’t spoil here). Nevertheless, the first hour is great and the special effects provide the film with some thrilling set pieces. It’s a shame then that the film offers up nothing new to the table despite some committed performances – this Phoenix just doesn’t quite rise to the occasion.
https://moviemetropolis.net/2019/06/07/x-men-dark-phoenix-review-goodbye-normal-jean/
Movie Metropolis (309 KP) rated Coco (2017) in Movies
Jun 10, 2019
Has pixar got it's mojo back?
Pixar has been on something of a downward trend of late, and that’s something I never thought I’d say. As much as it hurts, films like Cars 3, Finding Dory and The Good Dinosaur just don’t cut the mustard when compared to some of the studio’s greats.
Movies like Up, Inside Out and Wall.E as well as The Incredibles, which we’re finally getting a sequel to this year, are up there with the best animations ever produced, never mind just from Pixar. Hoping to get back on the right track this year, Pixar has released Coco. But are we back up to scratch?
Before we begin. Did you know you can now vote in the third annual Movie Metropolis Alternative Oscars? Vote for your favourite films from last year!
Despite his family’s generations-old ban on music, young Miguel (Anthony Gonzalez) dreams of becoming an accomplished musician like his idol Ernesto de la Cruz (Benjamin Bratt). Desperate to prove his talent, Miguel finds himself in the stunning and colourful Land of the Dead. After meeting a charming trickster named Héctor (Gael García Bernal), the two new friends embark on an extraordinary journey to unlock the real story behind Miguel’s family history.
The first thing of note is just how stunning Coco is to look at. Director Lee Unkrich (Toy Story 3) creates what could be Pixar’s finest looking film to date, it really is that staggering to watch. The colourful world of the Land of the Dead is astounding and it’s pleasing that he chooses to spend the majority of the film’s runtime here. Populated by vibrant animals and the living dead, it grabs attention from scene to scene and isn’t afraid to hold on.
The animation itself is spot on, but come on, this is Pixar we’re talking about, we expect nothing less. They really are getting very good at this photo-realistic scenery business and aside from the naturally carnival-esque Land of the Dead, it reeks of realism. The characters too are rendered in ridiculously detailed CGI with the work done on Coco herself being absolutely exquisite. Every well-deserved wrinkle and the remaining twinkle in her eyes – it’s all there.
Aside from all the spectacle though, at its heart, Coco is a film about family, and the importance of family no matter how annoying or frustrating they can be. This may sound a little straightforward in comparison to some of Pixar’s more mature themes, but it’s worth noting that the plot has more twists and turns in it than some of the best thrillers – it’s a brilliant story full of laughs and emotion.
The voice work done by the entire cast is absolutely sublime, but Anthony Gonzalez’s portrayal of Miguel is beautiful. His performance is perfectly integrated into the film as Miguel slowly unravels who he truly is – it’s a testament to the actors and actresses who lent their voices that it speaks to absolutely everyone in the audience.
Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story
Naturally, Pixar’s trademark wit and heart are here in spades. There are some genuinely funny moments that are beautifully juxtaposed with some more sombre scenes that make you realise just how important family is. Correctly awarded a PG certification by the BBFC means that smaller children may find some of the more adult themes a little hard to watch. In fact, there were a few children in floods of tears as I left the cinema.
Pacing wise, Coco is just about right for a family friendly film. At a shade under 110 minutes, it zips along smoothly, very rarely letting up pace. But Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story. In this respect, it’s up there with the very best the studio has to offer us.
It is unfortunate however that there is no Pixar Short attached to Coco. Films like Inside Out and Toy Story 3 had brilliant pre-movie films to get the kids interested in what they were about to see on screen. It’s not clear why Pixar chose to snub Coco like this, but that’s one of the only negative points in a film filled to the brim with memorable moments.
Overall, Pixar is well and truly back on track with Coco. They’ve managed to create a film that not only creates some new classic characters for the studio to bring back in a sequel, but they discuss life and death in a way that adults and children alike will enjoy. Couple this with a beautiful soundtrack with some gorgeous original songs, stunning animation and a heartfelt story and they’ve definitely recovered the animation crown. What a way to start 2018.
https://moviemetropolis.net/2018/01/13/coco-review-has-pixar-got-its-mojo-back/
Movies like Up, Inside Out and Wall.E as well as The Incredibles, which we’re finally getting a sequel to this year, are up there with the best animations ever produced, never mind just from Pixar. Hoping to get back on the right track this year, Pixar has released Coco. But are we back up to scratch?
Before we begin. Did you know you can now vote in the third annual Movie Metropolis Alternative Oscars? Vote for your favourite films from last year!
Despite his family’s generations-old ban on music, young Miguel (Anthony Gonzalez) dreams of becoming an accomplished musician like his idol Ernesto de la Cruz (Benjamin Bratt). Desperate to prove his talent, Miguel finds himself in the stunning and colourful Land of the Dead. After meeting a charming trickster named Héctor (Gael García Bernal), the two new friends embark on an extraordinary journey to unlock the real story behind Miguel’s family history.
The first thing of note is just how stunning Coco is to look at. Director Lee Unkrich (Toy Story 3) creates what could be Pixar’s finest looking film to date, it really is that staggering to watch. The colourful world of the Land of the Dead is astounding and it’s pleasing that he chooses to spend the majority of the film’s runtime here. Populated by vibrant animals and the living dead, it grabs attention from scene to scene and isn’t afraid to hold on.
The animation itself is spot on, but come on, this is Pixar we’re talking about, we expect nothing less. They really are getting very good at this photo-realistic scenery business and aside from the naturally carnival-esque Land of the Dead, it reeks of realism. The characters too are rendered in ridiculously detailed CGI with the work done on Coco herself being absolutely exquisite. Every well-deserved wrinkle and the remaining twinkle in her eyes – it’s all there.
Aside from all the spectacle though, at its heart, Coco is a film about family, and the importance of family no matter how annoying or frustrating they can be. This may sound a little straightforward in comparison to some of Pixar’s more mature themes, but it’s worth noting that the plot has more twists and turns in it than some of the best thrillers – it’s a brilliant story full of laughs and emotion.
The voice work done by the entire cast is absolutely sublime, but Anthony Gonzalez’s portrayal of Miguel is beautiful. His performance is perfectly integrated into the film as Miguel slowly unravels who he truly is – it’s a testament to the actors and actresses who lent their voices that it speaks to absolutely everyone in the audience.
Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story
Naturally, Pixar’s trademark wit and heart are here in spades. There are some genuinely funny moments that are beautifully juxtaposed with some more sombre scenes that make you realise just how important family is. Correctly awarded a PG certification by the BBFC means that smaller children may find some of the more adult themes a little hard to watch. In fact, there were a few children in floods of tears as I left the cinema.
Pacing wise, Coco is just about right for a family friendly film. At a shade under 110 minutes, it zips along smoothly, very rarely letting up pace. But Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story. In this respect, it’s up there with the very best the studio has to offer us.
It is unfortunate however that there is no Pixar Short attached to Coco. Films like Inside Out and Toy Story 3 had brilliant pre-movie films to get the kids interested in what they were about to see on screen. It’s not clear why Pixar chose to snub Coco like this, but that’s one of the only negative points in a film filled to the brim with memorable moments.
Overall, Pixar is well and truly back on track with Coco. They’ve managed to create a film that not only creates some new classic characters for the studio to bring back in a sequel, but they discuss life and death in a way that adults and children alike will enjoy. Couple this with a beautiful soundtrack with some gorgeous original songs, stunning animation and a heartfelt story and they’ve definitely recovered the animation crown. What a way to start 2018.
https://moviemetropolis.net/2018/01/13/coco-review-has-pixar-got-its-mojo-back/
Movie Metropolis (309 KP) rated After Earth (2013) in Movies
Jun 11, 2019
M Night Shyamalan is a director of two-halves. On one hand we have the man who gave us the amazing blockbusters Signs, Unbreakable and The Sixth Sense, which were met with commercial and critical success; and on the other hand we have the man who tortured the cinema-going public with abominations like The Lady in the Water, The Village and perhaps one of the worst films of all time, The Happening.
However, despite his recent offerings, the studios are allowing him to have another go, teaming up with Will Smith and his son Jaden in the sci-fi thriller After Earth. But can it mark a return to form for the struggling director?
After Earth begins with Jaden Smith getting the audience up to speed with exactly what has happened before the film began. The human race has had to leave the planet to ensure the continuation of our species after purging all the resources Earth had to offer.
Their new home, Nova Prime is a hostile environment, not unlike Mars in appearance with its rugged, red rocks and sweeping planes of space sand. After years of peace, an alien race intends to conquer their new home and enslave mankind with their secret weapons, the Ursas. These predatory beasts are technically blind, but sense fear and because of their grotesque appearance, it is easy to see why they can kill so quickly. The only way to survive an Ursa attack is to ‘ghost’, to not secrete the fear they need to ‘see’ you.
Jaden Smith plays Kitai, a young cadet who is on a training regime to become a ranger like his father Cypher (Will Smith). It’s fair to say they have a fraught relationship which is in part to Cypher being away for long periods of time defending Nova Prime, and partly because of the death of his daughter at the hands of an Ursa; something which Kitai blames himself for.
In an attempt to bond the pair together, their mother Faia, played briefly by Sophie Okonedo, convinces Cypher to take Kitai on his last voyage before retirement. On their journey their ship is severely damaged by an asteroid field and subsequently crashes on an inhospitable planet; no prizes for guessing where.
After discovering that his father has two badly broken legs, Kitai realises, with a little help from his dad, that he must travel 100km through Earth’s once pleasant land to retrieve an emergency signalling beacon – otherwise, they will die.
What ensues is a formulaic father, son bonding story mixed in with some mildly entertaining action pieces which try and get the heart racing. The problem with the film as a whole is that we, as the audience, never really sense any danger. Despite Kitai being attacked by a troop of baboons, poisoned by a leech and almost eviscerated by a group of big cats, we never think anything too awful is going to happen, simply because the film would be pointless if the duo weren’t rescued in the end.
Side-lining one of Hollywood’s most loved actors with two broken legs was a brave move by Shyamalan and it is done with a small degree of success. Smith senior suffers as a result of being bed-ridden for the duration and doesn’t perform as well as some of his other recent roles; I am Legend and I, Robot being prime examples. This isn’t to say that he isn’t engaging, as he always is, but it falls well short of his best characterisations.
The major fault with After Earth is in its leading man. Jaden Smith is a good actor, but he is not good enough to carry an entire film for over 90 minutes, we see him shout, pout and look into the camera longingly, but there is little else here and that’s a shame. He lacks the charisma and the charm that has made his father such a joy to watch over the years.
Special effects are a mixed bag, in some sequences, like the sweeping shots of Nova Prime and the cities which are dotted across its landscape, the effect is very good and the 4k resolution that Shyamalan has filmed in makes everything look crisp and sharp. However, the CGI animals, especially the big cats and the Ursa alien look a little like something pre-2000 and are disappointing.
Overall, After Earth is not as bad as the reviews and its dire box-office performance would suggest, and comparing it to Battlefield Earth is downright ridiculous. It is by no means a masterpiece, but as a slice of cheesy, sentimental popcorn entertainment it succeeds and does so well. Will Smith and his son Jaden are good, but not outstanding and the special effects look rushed – but this is offset by a wonderful soundtrack and a surprisingly deep and meaningful story. It may not be the career revival that Shyamalan was hoping for, but if this is the last film he directs he can at least be content. Set your expectations low and you’ll come out pleasantly surprised.
https://moviemetropolis.net/2013/06/08/after-earth-review-2013/
However, despite his recent offerings, the studios are allowing him to have another go, teaming up with Will Smith and his son Jaden in the sci-fi thriller After Earth. But can it mark a return to form for the struggling director?
After Earth begins with Jaden Smith getting the audience up to speed with exactly what has happened before the film began. The human race has had to leave the planet to ensure the continuation of our species after purging all the resources Earth had to offer.
Their new home, Nova Prime is a hostile environment, not unlike Mars in appearance with its rugged, red rocks and sweeping planes of space sand. After years of peace, an alien race intends to conquer their new home and enslave mankind with their secret weapons, the Ursas. These predatory beasts are technically blind, but sense fear and because of their grotesque appearance, it is easy to see why they can kill so quickly. The only way to survive an Ursa attack is to ‘ghost’, to not secrete the fear they need to ‘see’ you.
Jaden Smith plays Kitai, a young cadet who is on a training regime to become a ranger like his father Cypher (Will Smith). It’s fair to say they have a fraught relationship which is in part to Cypher being away for long periods of time defending Nova Prime, and partly because of the death of his daughter at the hands of an Ursa; something which Kitai blames himself for.
In an attempt to bond the pair together, their mother Faia, played briefly by Sophie Okonedo, convinces Cypher to take Kitai on his last voyage before retirement. On their journey their ship is severely damaged by an asteroid field and subsequently crashes on an inhospitable planet; no prizes for guessing where.
After discovering that his father has two badly broken legs, Kitai realises, with a little help from his dad, that he must travel 100km through Earth’s once pleasant land to retrieve an emergency signalling beacon – otherwise, they will die.
What ensues is a formulaic father, son bonding story mixed in with some mildly entertaining action pieces which try and get the heart racing. The problem with the film as a whole is that we, as the audience, never really sense any danger. Despite Kitai being attacked by a troop of baboons, poisoned by a leech and almost eviscerated by a group of big cats, we never think anything too awful is going to happen, simply because the film would be pointless if the duo weren’t rescued in the end.
Side-lining one of Hollywood’s most loved actors with two broken legs was a brave move by Shyamalan and it is done with a small degree of success. Smith senior suffers as a result of being bed-ridden for the duration and doesn’t perform as well as some of his other recent roles; I am Legend and I, Robot being prime examples. This isn’t to say that he isn’t engaging, as he always is, but it falls well short of his best characterisations.
The major fault with After Earth is in its leading man. Jaden Smith is a good actor, but he is not good enough to carry an entire film for over 90 minutes, we see him shout, pout and look into the camera longingly, but there is little else here and that’s a shame. He lacks the charisma and the charm that has made his father such a joy to watch over the years.
Special effects are a mixed bag, in some sequences, like the sweeping shots of Nova Prime and the cities which are dotted across its landscape, the effect is very good and the 4k resolution that Shyamalan has filmed in makes everything look crisp and sharp. However, the CGI animals, especially the big cats and the Ursa alien look a little like something pre-2000 and are disappointing.
Overall, After Earth is not as bad as the reviews and its dire box-office performance would suggest, and comparing it to Battlefield Earth is downright ridiculous. It is by no means a masterpiece, but as a slice of cheesy, sentimental popcorn entertainment it succeeds and does so well. Will Smith and his son Jaden are good, but not outstanding and the special effects look rushed – but this is offset by a wonderful soundtrack and a surprisingly deep and meaningful story. It may not be the career revival that Shyamalan was hoping for, but if this is the last film he directs he can at least be content. Set your expectations low and you’ll come out pleasantly surprised.
https://moviemetropolis.net/2013/06/08/after-earth-review-2013/