Search
Chris Sawin (602 KP) rated Under the Silver Lake (2018) in Movies
Jul 6, 2019
In David Robert Mitchell’s (It Follows) Under the Silver Lake, Andrew Garfield portrays a jobless and lethargic young man named Sam. Apart from his obsession with conspiracy theories and finding obscure messages in common pop culture, Sam typically spies on his topless and bird-loving neighbor. He also blatantly ignores the fact that he’s facing eviction in five days for unpaid rent. His current infatuation is a zine entitled Under the Silver Lake, which seems to mirror what’s currently transpiring in Los Angeles. Sam develops a crush on his new neighbor named Sarah (Riley Keough), who seems to disappear without a trace overnight. What begins as an investigation into Sarah’s current whereabouts evolves into something deeply rooted in the peculiar.
There’s a lot to digest with Under the Silver Lake. Not only is the story constructed on finding clues and deciphering the bizarre, but the film itself is also loaded with homage to famous music, film, and people. Nirvana, The Legend of Zelda, Nintendo Power, and Spider-Man are just a few references in the film and that doesn’t cover the blatant influence of films such as Rear Window or 2001: A Space Odyssey. What you have to ask yourself, and this is probably what makes the film so polarizing, is if what lays between the admiration for popular culture a worthwhile experience?
What you can appreciate is Andrew Garfield’s performance. Sam is so bored with his uneventful existence that he tries to find hidden meaning in everyday items. He is basically a stalker fueled by paranoia and consistent lusting of whatever woman is closest to him. When sex isn’t an option for Sam, he masturbates and somehow this becomes a common theme of the film. The first thing you ever pleasured yourself to is suddenly a conversation piece. Garfield has an unusual demeanor as Sam, but never really comes off as creepy. The method in which the story keeps snowballing into something bigger with more and more connections helps Sam’s case. Sam beats the snot out of a kid who keyed a giant penis ejaculating onto the hood of his black GT Mustang and you only seem to like him more because of it.
The fact of the matter is you also become invested in Sam’s discoveries. Despite what you feel about Under the Silver Lake as a film, it’s still unpredictable and intriguing even with its 139-minute duration. With its abrupt camera movements, a kamikaze squirrel, a serial dog killer on the loose, pets named after soda, the discovery of saltines and orange juice being one of the most unique combinations ever, a gory dream sequence, animated zine stories, people barking like dogs, the map on the back of a cereal box being the answer to everything, a seething hatred for the homeless, a way too impressive piano medley, and an almost unrecognizable Topher Grace as a reliable friend, Under the Silver Lake feels like it is overloaded with these overwhelmingly precise details that don’t necessarily lead to anything substantial.
On first watch, it’s impossible to decipher if Under the Silver Lake is destined to be a cult classic or a misguided neo-noir mystery. David Robert Mitchell knows how to introduce elements of comedy, mystery, and drama, but that final product is what leaves you scratching your head. Maybe this gets better with multiple viewings and you find more Easter eggs with each watch or everything connects differently in your head after knowing what direction the story is headed in. In the meantime though, Under the Silver Lake mostly feels like a nearly two and a half hour session of stoner ramblings that can’t decide whether to be Brick, Inherent Vice, or Southland Tales; even The Homeless King feels like a side story lifted from Terry Gilliam’s The Fisher King.
What’s happening directly in Sam’s world isn’t what matters most in Under the Silver Lake. He’s more worried about Sarah and Los Angeles than he is about not having a job or possibly a place to live in a matter of days. The outside world is far more interesting to Sam because it’s that, “The grass is always greener,” kind of mentality. Sam is consumed by Sarah because she is the one woman in the film he doesn’t get to sleep with. Having everlasting discussions of what your topless neighbor’s parrot is saying is far more humorous than revealing anything remotely personal. Becoming entangled in this crazy spider’s web of a conspiracy is far more interesting than living a boring existence. Sam makes the most out of nothing, literally. Under the Silver Lake is this spellbinding enigma of a film that is equally stimulating as it is mystifying.
There’s a lot to digest with Under the Silver Lake. Not only is the story constructed on finding clues and deciphering the bizarre, but the film itself is also loaded with homage to famous music, film, and people. Nirvana, The Legend of Zelda, Nintendo Power, and Spider-Man are just a few references in the film and that doesn’t cover the blatant influence of films such as Rear Window or 2001: A Space Odyssey. What you have to ask yourself, and this is probably what makes the film so polarizing, is if what lays between the admiration for popular culture a worthwhile experience?
What you can appreciate is Andrew Garfield’s performance. Sam is so bored with his uneventful existence that he tries to find hidden meaning in everyday items. He is basically a stalker fueled by paranoia and consistent lusting of whatever woman is closest to him. When sex isn’t an option for Sam, he masturbates and somehow this becomes a common theme of the film. The first thing you ever pleasured yourself to is suddenly a conversation piece. Garfield has an unusual demeanor as Sam, but never really comes off as creepy. The method in which the story keeps snowballing into something bigger with more and more connections helps Sam’s case. Sam beats the snot out of a kid who keyed a giant penis ejaculating onto the hood of his black GT Mustang and you only seem to like him more because of it.
The fact of the matter is you also become invested in Sam’s discoveries. Despite what you feel about Under the Silver Lake as a film, it’s still unpredictable and intriguing even with its 139-minute duration. With its abrupt camera movements, a kamikaze squirrel, a serial dog killer on the loose, pets named after soda, the discovery of saltines and orange juice being one of the most unique combinations ever, a gory dream sequence, animated zine stories, people barking like dogs, the map on the back of a cereal box being the answer to everything, a seething hatred for the homeless, a way too impressive piano medley, and an almost unrecognizable Topher Grace as a reliable friend, Under the Silver Lake feels like it is overloaded with these overwhelmingly precise details that don’t necessarily lead to anything substantial.
On first watch, it’s impossible to decipher if Under the Silver Lake is destined to be a cult classic or a misguided neo-noir mystery. David Robert Mitchell knows how to introduce elements of comedy, mystery, and drama, but that final product is what leaves you scratching your head. Maybe this gets better with multiple viewings and you find more Easter eggs with each watch or everything connects differently in your head after knowing what direction the story is headed in. In the meantime though, Under the Silver Lake mostly feels like a nearly two and a half hour session of stoner ramblings that can’t decide whether to be Brick, Inherent Vice, or Southland Tales; even The Homeless King feels like a side story lifted from Terry Gilliam’s The Fisher King.
What’s happening directly in Sam’s world isn’t what matters most in Under the Silver Lake. He’s more worried about Sarah and Los Angeles than he is about not having a job or possibly a place to live in a matter of days. The outside world is far more interesting to Sam because it’s that, “The grass is always greener,” kind of mentality. Sam is consumed by Sarah because she is the one woman in the film he doesn’t get to sleep with. Having everlasting discussions of what your topless neighbor’s parrot is saying is far more humorous than revealing anything remotely personal. Becoming entangled in this crazy spider’s web of a conspiracy is far more interesting than living a boring existence. Sam makes the most out of nothing, literally. Under the Silver Lake is this spellbinding enigma of a film that is equally stimulating as it is mystifying.
Gareth von Kallenbach (965 KP) rated The Dark Knight (2008) in Movies
Aug 14, 2019
Riding a wave a fan expectations and anticipation as well as surrounding by the tragic death of Heath Ledger, the latest installment in Writer/Director Christopher Nolan’s Batman Series, “The Dark Knight”, has arrived. Christian Bale once again stars in the dual role of troubled billionaire playboy Bruce Wayne and the masked avenger Batman, as he attempts to bring order to Gotham City.
The film picks up shortly after the events of “Batman Begins” and finds Bruce and his trusty sidekick Alfred (Michael Caine), splitting their time between a lofty penthouse and a secret lair while Wayne Manor is being rebuilt. The streets of Gotham have become safer as thanks to Batman many of the bad elements of the city have either been arrested or driven off.
Batman has a new ally in his fight, as new District Attorney Harvey Dent, (Aaron Eckhart), is waging a personal war on crime, and has vowed to stop at nothing to bring the remaining crime bosses and their associates to justice. Bruce is unsure what to make of Dent, and is further troubled by the growing relationship between Dent and his longtime flame Rachel Dawes (Maggie Gyllenhaal).
Unknown to Batman and Dent, the biggest threat ever to face Gotham City is about to move into the limelight, as a mysterious figure known as The Joker (Heath Ledger), has risen from the ranks of violent bank robber to psychopathic mastermind, attempting to get the remaining crime lords to join him in an scheme to kill Batman and prominent heads of the city to bring utter chaos.
As the Joker’s wave of violence, death, and destruction unfolds, Batman is drawn deeper into turmoil, as he is conflicted by his desire to abandon his Batman alter-ego and leave cleaning up the city to Dent and his trusted ally James Gordon (Gary Oldman). Bruce knows that he cannot be with Rachel as long as Batman is a part of his life, and he wishes he can abandon the fight to live a more normal existence.
As the crime wave escalates and the body count starts to mount, Bruce is driven to the edge as he matches wits with his toughest foe yet, a man who seems capable of matching his every move, and seems to be always one step ahead.
What follows is a truly gripping and enjoyably dark tale of murder, deception, action, and intrigue in what is not only the best Batman film ever but simply the best superhero film ever. This is strong praise considering the solid screen versions of “Spider-Man”, “Iron-Man” and the previous “Batman Beyond”, but Nolan has crafted a true cinematic masterpiece.
The key to the film is not only the solid cast but a serious and intelligent script that allows the actors to truly shine. This is not a thinly veiled comic story where plot and character are secondary to visuals and actions; instead it is a brilliant physiological study of madness, human nature, unchecked ambition, and morality, wrapped in a truly epic story.
Nolan deftly juggles the characters and action and never allows one to overshadow the other. He does not lose sight of the fact that despite the amazing and intense actions and visuals, this is a character driven story.
Many times during the press showing of the film I marveled at the high quality of the story and solid acting in the film. The impressive cast is anchored by a truly incredible performance by Ledger as he portrays the Joker as a deeply disturbed individual who mixes genius with absolute ruthless cunning. The mannerisms of the character are such that Ledger simply becomes the demented killer and at no time appears to be an actor portraying a character, but rather the personification of the character brought to reality.
His scenes with Bale are truly memorable and underscore the vast history between the two characters that has been established over the decades, and emphasizes the fact that, in some ways, Batman and the Joker are similar beings, both troubled souls who deal with their pain in different ways.
Bale is very good at portraying the torment his character lives with day in and day out, as well as the dark and seething rage that threatens to overtake him and his constant struggle to keep it under the control. Lesser actors would be lost against the amazing performance of Ledger, but Bale more than holds his own, and provides gripping cinema at its best during his scenes with Ledger and the talented cast.
Morgan Freeman and Michael Caine bring solid support to the film as their characters provide wisdom, morality, and direction for characters that walk the thin line between good and evil. The only real disappointment in the film for me was that Maggie Gyllenhaal is not given enough to do. She ably takes over the role originated by Katie Holmes, but she is not given any chance to stand out and her moments with Bale do not allow her to further her relationship with Bruce Wayne.
Eckhart gives a solid performance as Harvey Dent and his alter ego Two Face, taking great advantage of the time he was allowed to develop Dent. My only wish would have been for Two Face to have more time to develop as his arrival seems more of an add-on than a point of plot emphasis.
That being said, the film is a true masterpiece that proves you do not have to sacrifice character development and story to deliver a solid action film. The story sets up very well for future installments and I am sure I am not alone in wanting another outing for Nolan and Bale.
The film picks up shortly after the events of “Batman Begins” and finds Bruce and his trusty sidekick Alfred (Michael Caine), splitting their time between a lofty penthouse and a secret lair while Wayne Manor is being rebuilt. The streets of Gotham have become safer as thanks to Batman many of the bad elements of the city have either been arrested or driven off.
Batman has a new ally in his fight, as new District Attorney Harvey Dent, (Aaron Eckhart), is waging a personal war on crime, and has vowed to stop at nothing to bring the remaining crime bosses and their associates to justice. Bruce is unsure what to make of Dent, and is further troubled by the growing relationship between Dent and his longtime flame Rachel Dawes (Maggie Gyllenhaal).
Unknown to Batman and Dent, the biggest threat ever to face Gotham City is about to move into the limelight, as a mysterious figure known as The Joker (Heath Ledger), has risen from the ranks of violent bank robber to psychopathic mastermind, attempting to get the remaining crime lords to join him in an scheme to kill Batman and prominent heads of the city to bring utter chaos.
As the Joker’s wave of violence, death, and destruction unfolds, Batman is drawn deeper into turmoil, as he is conflicted by his desire to abandon his Batman alter-ego and leave cleaning up the city to Dent and his trusted ally James Gordon (Gary Oldman). Bruce knows that he cannot be with Rachel as long as Batman is a part of his life, and he wishes he can abandon the fight to live a more normal existence.
As the crime wave escalates and the body count starts to mount, Bruce is driven to the edge as he matches wits with his toughest foe yet, a man who seems capable of matching his every move, and seems to be always one step ahead.
What follows is a truly gripping and enjoyably dark tale of murder, deception, action, and intrigue in what is not only the best Batman film ever but simply the best superhero film ever. This is strong praise considering the solid screen versions of “Spider-Man”, “Iron-Man” and the previous “Batman Beyond”, but Nolan has crafted a true cinematic masterpiece.
The key to the film is not only the solid cast but a serious and intelligent script that allows the actors to truly shine. This is not a thinly veiled comic story where plot and character are secondary to visuals and actions; instead it is a brilliant physiological study of madness, human nature, unchecked ambition, and morality, wrapped in a truly epic story.
Nolan deftly juggles the characters and action and never allows one to overshadow the other. He does not lose sight of the fact that despite the amazing and intense actions and visuals, this is a character driven story.
Many times during the press showing of the film I marveled at the high quality of the story and solid acting in the film. The impressive cast is anchored by a truly incredible performance by Ledger as he portrays the Joker as a deeply disturbed individual who mixes genius with absolute ruthless cunning. The mannerisms of the character are such that Ledger simply becomes the demented killer and at no time appears to be an actor portraying a character, but rather the personification of the character brought to reality.
His scenes with Bale are truly memorable and underscore the vast history between the two characters that has been established over the decades, and emphasizes the fact that, in some ways, Batman and the Joker are similar beings, both troubled souls who deal with their pain in different ways.
Bale is very good at portraying the torment his character lives with day in and day out, as well as the dark and seething rage that threatens to overtake him and his constant struggle to keep it under the control. Lesser actors would be lost against the amazing performance of Ledger, but Bale more than holds his own, and provides gripping cinema at its best during his scenes with Ledger and the talented cast.
Morgan Freeman and Michael Caine bring solid support to the film as their characters provide wisdom, morality, and direction for characters that walk the thin line between good and evil. The only real disappointment in the film for me was that Maggie Gyllenhaal is not given enough to do. She ably takes over the role originated by Katie Holmes, but she is not given any chance to stand out and her moments with Bale do not allow her to further her relationship with Bruce Wayne.
Eckhart gives a solid performance as Harvey Dent and his alter ego Two Face, taking great advantage of the time he was allowed to develop Dent. My only wish would have been for Two Face to have more time to develop as his arrival seems more of an add-on than a point of plot emphasis.
That being said, the film is a true masterpiece that proves you do not have to sacrifice character development and story to deliver a solid action film. The story sets up very well for future installments and I am sure I am not alone in wanting another outing for Nolan and Bale.
Movie Metropolis (309 KP) rated Deadpool 2 (2018) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
More of the same
Who would have thought we would get to this? I certainly didn’t. After the right royal mess 20th Century Fox made of everyone’s favourite anti-hero, Deadpool, in X-Men Origins: Wolverine all those years ago, it felt like a solo outing would never be possible, never mind a sequel.
Deadpool senior went on to gross nearly $800million worldwide, impressive for an R-rated (15 certification) flick, and was an undisputed king of comic-book hero movies. Like Guardians of the Galaxy was for Marvel Studios, Deadpool was a huge gamble that paid off massively thanks to Ryan Reynold’s brilliant comic-timing and an origins story that wasn’t done to death. Naturally, a sequel was always on the cards. But are we looking at a sequel of Empire quality or Speed 2: Cruise Control?
Wisecracking mercenary Deadpool (Reynolds) is back, and this time he decides to joins force with three mutants – Bedlam (Terry Crews), Shatterstar (Lewis Tan) and Domino (Zazie Beets) – to protect a boy from the all-powerful Cable (Josh Brolin).
One-half of John Wick’s directing team, David Leitch, is thrust into the directing chair for Deadpool 2 after Tim Miller was unceremoniously dumped from the project due to creative differences with Ryan Reynolds (read into that what you will). Thankfully, he brings that trademark style that we again saw in Atomic Blonde to this sequel and with that comes plenty of stylised action and a neon/grey colour palate plus a Celine Dion number that’s just begging for parody status.
Surprisingly, that all works rather well for this film. Propped by another cracking performance from Ryan Reynolds who has really found his calling after years of mediocrity. I’ve said it before and I’ll say it again, he was absolutely born to play this role and his dry wit is given much more room to breathe this time around.
The rest of the cast are fine, if a little underdeveloped. Zazie Beets probably makes the most impact as mutant, Domino, but even she is a little underpowered when compared to the brilliant work the MCU has done on its heroes over the years. Josh Brolin (who must be getting paid rather handsomely this year) is great as Cable, though it is difficult to hear his voice and not immediately think of Thanos. T.J. Miller returns in a heavily reduced role as does Reynolds’ on-screen girlfriend Morena Baccarin who is criminally underused.
Story wise, it’s pretty much more of the same and that’s no bad thing. The fourth-wall breaking is as fresh as it felt two years ago and is cleverly used to hide the necessary exposition to bring the audience up-to-speed with what’s been happening in Deadpool-ville over the last couple of years.
Thankfully, there is plenty of repeat-watch value in Deadpool 2, thanks mainly to the returning cast members
The comedy hits more than it misses, though the constant quipps can be exhausting, and the action is filmed as confidently as you’d expect from the man who brought Keanu Reeves screaming into the 21st Century, but there is some incredibly poor CGI that is at odds with a movie costing over $100million. By incredibly poor, I don’t mean just a bit naff, I’m talking laughably bad.
The finale is vibrant, action-packed and as Deadpool himself says, CGI-filled, but it’s a little unoriginal and very much like its predecessor, though the inclusion of one particular character that I won’t spoil here is great fun to see.
There are also plenty of X-Men Easter eggs for fans to enjoy too. From characters showing up where you’d least expect them to a blink-and-you’ll-miss-it Stan Lee cameo, the film is full to the brim of in-references that only the most hardened of comic-book fans will notice on the first watch.
Thankfully, there is plenty of repeat-watch value in Deadpool 2, thanks mainly to the returning cast members. Reynolds, T.J. Miller, Leslie Uggams (Wade Wilson’s blind roommate Al) and Karan Soni (taxi driver Dopinder) are welcome returnees and ensure the film has a little heart, though not too much. After all, that wouldn’t be the Deadpool way.
Overall, Deadpool 2 is a confident sequel to one of the best comic-book movies there is. What it does right, it does very well indeed. The comedy, performances and action are all spot on. Unfortunately, there are some very poor special effects over the course of the film and in an effort to make everything bigger and badder, it occasionally feels like a mass of scenes put together to make a film. A worthy sequel, but not an Empire or Spider-Man 2 in this instance.
https://moviemetropolis.net/2018/05/16/deadpool-2-review-more-of-the-same/#more-6342
Deadpool senior went on to gross nearly $800million worldwide, impressive for an R-rated (15 certification) flick, and was an undisputed king of comic-book hero movies. Like Guardians of the Galaxy was for Marvel Studios, Deadpool was a huge gamble that paid off massively thanks to Ryan Reynold’s brilliant comic-timing and an origins story that wasn’t done to death. Naturally, a sequel was always on the cards. But are we looking at a sequel of Empire quality or Speed 2: Cruise Control?
Wisecracking mercenary Deadpool (Reynolds) is back, and this time he decides to joins force with three mutants – Bedlam (Terry Crews), Shatterstar (Lewis Tan) and Domino (Zazie Beets) – to protect a boy from the all-powerful Cable (Josh Brolin).
One-half of John Wick’s directing team, David Leitch, is thrust into the directing chair for Deadpool 2 after Tim Miller was unceremoniously dumped from the project due to creative differences with Ryan Reynolds (read into that what you will). Thankfully, he brings that trademark style that we again saw in Atomic Blonde to this sequel and with that comes plenty of stylised action and a neon/grey colour palate plus a Celine Dion number that’s just begging for parody status.
Surprisingly, that all works rather well for this film. Propped by another cracking performance from Ryan Reynolds who has really found his calling after years of mediocrity. I’ve said it before and I’ll say it again, he was absolutely born to play this role and his dry wit is given much more room to breathe this time around.
The rest of the cast are fine, if a little underdeveloped. Zazie Beets probably makes the most impact as mutant, Domino, but even she is a little underpowered when compared to the brilliant work the MCU has done on its heroes over the years. Josh Brolin (who must be getting paid rather handsomely this year) is great as Cable, though it is difficult to hear his voice and not immediately think of Thanos. T.J. Miller returns in a heavily reduced role as does Reynolds’ on-screen girlfriend Morena Baccarin who is criminally underused.
Story wise, it’s pretty much more of the same and that’s no bad thing. The fourth-wall breaking is as fresh as it felt two years ago and is cleverly used to hide the necessary exposition to bring the audience up-to-speed with what’s been happening in Deadpool-ville over the last couple of years.
Thankfully, there is plenty of repeat-watch value in Deadpool 2, thanks mainly to the returning cast members
The comedy hits more than it misses, though the constant quipps can be exhausting, and the action is filmed as confidently as you’d expect from the man who brought Keanu Reeves screaming into the 21st Century, but there is some incredibly poor CGI that is at odds with a movie costing over $100million. By incredibly poor, I don’t mean just a bit naff, I’m talking laughably bad.
The finale is vibrant, action-packed and as Deadpool himself says, CGI-filled, but it’s a little unoriginal and very much like its predecessor, though the inclusion of one particular character that I won’t spoil here is great fun to see.
There are also plenty of X-Men Easter eggs for fans to enjoy too. From characters showing up where you’d least expect them to a blink-and-you’ll-miss-it Stan Lee cameo, the film is full to the brim of in-references that only the most hardened of comic-book fans will notice on the first watch.
Thankfully, there is plenty of repeat-watch value in Deadpool 2, thanks mainly to the returning cast members. Reynolds, T.J. Miller, Leslie Uggams (Wade Wilson’s blind roommate Al) and Karan Soni (taxi driver Dopinder) are welcome returnees and ensure the film has a little heart, though not too much. After all, that wouldn’t be the Deadpool way.
Overall, Deadpool 2 is a confident sequel to one of the best comic-book movies there is. What it does right, it does very well indeed. The comedy, performances and action are all spot on. Unfortunately, there are some very poor special effects over the course of the film and in an effort to make everything bigger and badder, it occasionally feels like a mass of scenes put together to make a film. A worthy sequel, but not an Empire or Spider-Man 2 in this instance.
https://moviemetropolis.net/2018/05/16/deadpool-2-review-more-of-the-same/#more-6342
Movie Metropolis (309 KP) rated How to Train Your Dragon 2 (2014) in Movies
Jun 10, 2019
Watch out pixar
Dreamworks’ How to Train Your Dragon was an example of setting your expectations low and coming out pleasantly surprised. The first film proved that the studio could create animated masterpieces and it left audiences across the globe hooked.
However, expectation has never been higher for its sequel, How to Train Your Dragon 2, but does it soar to the dizzying heights of its predecessor?
Thankfully the answer is a resounding yes. From beautiful animated dragons to breathtaking aerial-bound sequences, this sequel just about surpasses the original in every way.
Following on five years after events in the first film, Dragon 2 follows a 20-year-old Hiccup, voiced wonderfully by Jay Baruchel, and his sidekick Toothless in their home town of Berk as the residents come to terms with living peacefully alongside dragons.
Being Hiccup, he is naturally curious to learn about a legendary ‘dragon master’ who can enslave the beasts to form an army and sets out to persuade him to care for the animals like the villagers. This plot point is sidetracked from the outset however as we are introduced to Valka – Hiccup’s long lost mother, voiced by a rather miscast Cate Blanchett.
The bond between Hiccup and Toothless has grown massively in the five year break between films and this makes them even more enjoyable to watch. Yes, each of the villagers has their own dragon to look after, but it is the relationship between the two primary characters which we really care about the most.
Feline similarities in Toothless will not go unnoticed, his cat-like qualities give him an air of cuteness that you wouldn’t expect to come from such a menacing and ultimately deadly creature, and it is testament to Dreamworks that they have managed to craft such a personality for a character that never speaks.
The animation is also absolutely stunning, from the crystal waters of the sea around Berk to the people and dragons themselves, everything has been given an upgrade after the first film’s success and the battle scenes are beautiful in their simplicity – there’s no worrying about losing track of characters here.
However, it’s not all smoke and mirrors, the story has real meaning. Family values are explored, the way to treat animals is also looked at brieflyrs_634x1024-140205120546-634.cate-blanchett-bp.cm.2514 and ultimately, this is about one young man’s journey to maturity.
Unfortunately, the vocal performance of Cate Blanchett detracts somewhat from the overall magic. Her peculiar Scottish accent, which travels all over Europe by the time the end credits roll, is of particular annoyance and it’s a better film when she is not playing a central part. This is a shame as the realisation that Hiccup’s mother isn’t dead should be one of great consequence, but Blanchett’s strange acting hampers the scenes.
How to Train Your Dragon is to Dreamworks what WALL-E is to Pixar, each film is one of, if not the best animated feature from either studio and Dragon 2 follows that trend. It is the rare sequel that is superior to the first film – a la Spider-Man 2.
It’s an emotional rollercoaster too, and in some places very dark, possibly too much for children, but for teenagers and adults alike, there is something to enjoy here. From the engaging plot to the mesmerising soundtrack.
Overall, How to Train Your Dragon 2 is a fine film, helped along the way by some incredible animation, amazingly deep characters and a meaningful story. Only a poor showing by Cate Blanchett stops it achieving perfection.
https://moviemetropolis.net/2014/07/16/watch-out-pixar-how-to-train-your-dragon-2-review/
However, expectation has never been higher for its sequel, How to Train Your Dragon 2, but does it soar to the dizzying heights of its predecessor?
Thankfully the answer is a resounding yes. From beautiful animated dragons to breathtaking aerial-bound sequences, this sequel just about surpasses the original in every way.
Following on five years after events in the first film, Dragon 2 follows a 20-year-old Hiccup, voiced wonderfully by Jay Baruchel, and his sidekick Toothless in their home town of Berk as the residents come to terms with living peacefully alongside dragons.
Being Hiccup, he is naturally curious to learn about a legendary ‘dragon master’ who can enslave the beasts to form an army and sets out to persuade him to care for the animals like the villagers. This plot point is sidetracked from the outset however as we are introduced to Valka – Hiccup’s long lost mother, voiced by a rather miscast Cate Blanchett.
The bond between Hiccup and Toothless has grown massively in the five year break between films and this makes them even more enjoyable to watch. Yes, each of the villagers has their own dragon to look after, but it is the relationship between the two primary characters which we really care about the most.
Feline similarities in Toothless will not go unnoticed, his cat-like qualities give him an air of cuteness that you wouldn’t expect to come from such a menacing and ultimately deadly creature, and it is testament to Dreamworks that they have managed to craft such a personality for a character that never speaks.
The animation is also absolutely stunning, from the crystal waters of the sea around Berk to the people and dragons themselves, everything has been given an upgrade after the first film’s success and the battle scenes are beautiful in their simplicity – there’s no worrying about losing track of characters here.
However, it’s not all smoke and mirrors, the story has real meaning. Family values are explored, the way to treat animals is also looked at brieflyrs_634x1024-140205120546-634.cate-blanchett-bp.cm.2514 and ultimately, this is about one young man’s journey to maturity.
Unfortunately, the vocal performance of Cate Blanchett detracts somewhat from the overall magic. Her peculiar Scottish accent, which travels all over Europe by the time the end credits roll, is of particular annoyance and it’s a better film when she is not playing a central part. This is a shame as the realisation that Hiccup’s mother isn’t dead should be one of great consequence, but Blanchett’s strange acting hampers the scenes.
How to Train Your Dragon is to Dreamworks what WALL-E is to Pixar, each film is one of, if not the best animated feature from either studio and Dragon 2 follows that trend. It is the rare sequel that is superior to the first film – a la Spider-Man 2.
It’s an emotional rollercoaster too, and in some places very dark, possibly too much for children, but for teenagers and adults alike, there is something to enjoy here. From the engaging plot to the mesmerising soundtrack.
Overall, How to Train Your Dragon 2 is a fine film, helped along the way by some incredible animation, amazingly deep characters and a meaningful story. Only a poor showing by Cate Blanchett stops it achieving perfection.
https://moviemetropolis.net/2014/07/16/watch-out-pixar-how-to-train-your-dragon-2-review/
Movie Metropolis (309 KP) rated Labor Day (2014) in Movies
Jun 11, 2019
Director Jason Reitman is no stranger to obtaining a few awards from his varied career, with films like Juno and Up in the Air under his belt, you would be forgiven for thinking that he could put himself on autopilot – however his latest offering Labor Day stays well clear of such drama.
Starring Kate Winslet and Josh Brolin, the film stays on the right side of touching without feeling overly sentimental and cheesy. But is it worth a watch?
Following the story of Adele (Winslet) and her son Henry (Gattlin Griffith) as they comes to terms with repairing their lives after an unsuccessful marriage, Labor Day leaves the story and plot of Joyce Maynard’s hugely popular novel to the audience, who piece things together themselves, culminating in a pleasing if slightly clumsy final act.
Josh Brolin stars as Frank Chambers, an escaped murderer looking for somewhere tolabor-day-poster1 lay low whilst the police continue searching for him. Brolin is a master of playing the bad guy gone good and his performance here is no exception to that rule. His convict-like scowls are brilliantly juxtaposed with scenes involving him cooking and baking, leaving the viewer slightly perplexed by his real intentions – at the start that is anyway.
As the story takes place over a weekend, the film does feel a little drawn out in places but this adds to its simplistic charm, with the characters and their sublime acting doing most of the work.
Winslet is excellent as Adele, a woman so heartbroken and terrified by the painful effects of love she no longer leaves the house. Her fragility is exceptionally intense; her hands and facial expressions talk more than words ever could and this is a theme throughout the film. I wouldn’t be surprised if Winslet is nominated for an Oscar at next year’s awards.
However, by far the standout is Gattlin Griffith’s performance as young Henry. Here is a boy who would do anything for his mother. His transition from moody teenager to vulnerable young adult is beautiful to watch and again, his facial expressions speak volumes.
As the police close in on Frank’s location and Adele and Henry’s behaviour becomes ever more suspicious, Labor Day becomes increasingly intense in a ‘will they won’t they’ kind of way. As much as the film drives home the simplicity of its intentions, you can’t helped but get sucked into their predicament and this, along with the acting, is where it stuns most.
Unfortunately, the simple nature of the directing and cinematography leaves a lot of room for other areas to fill, and this doesn’t quite happen.
The score is mind-numbingly dull which is a true shame. Rolfe Kent has created some stunning pieces of music for films across the decades including his Golden Globe nominated work on Sideways, not forgetting the excellent score in The Wedding Crashers. Despite some lift in the latter half of the picture, it remains a relatively music-free affair.
Tobey Maguire’s narration is also a little dull. Those of you familiar with the Spider-Man trilogy will know how irritating Maguire’s voice can be, and unfortunately it’s the case here too.
Overall though, Labor Day fills the void in between the magic of the Christmas blockbuster and the frantic summer season which is approaching thick and fast. Filled with some fine performances from the three lead actors and a story which really makes you believe in second chances, it’s an utterly compelling and emotional spring flick. Only the poor score and uninspiring cinematography lets it down.
https://moviemetropolis.net/2014/03/27/labor-day-review/
Starring Kate Winslet and Josh Brolin, the film stays on the right side of touching without feeling overly sentimental and cheesy. But is it worth a watch?
Following the story of Adele (Winslet) and her son Henry (Gattlin Griffith) as they comes to terms with repairing their lives after an unsuccessful marriage, Labor Day leaves the story and plot of Joyce Maynard’s hugely popular novel to the audience, who piece things together themselves, culminating in a pleasing if slightly clumsy final act.
Josh Brolin stars as Frank Chambers, an escaped murderer looking for somewhere tolabor-day-poster1 lay low whilst the police continue searching for him. Brolin is a master of playing the bad guy gone good and his performance here is no exception to that rule. His convict-like scowls are brilliantly juxtaposed with scenes involving him cooking and baking, leaving the viewer slightly perplexed by his real intentions – at the start that is anyway.
As the story takes place over a weekend, the film does feel a little drawn out in places but this adds to its simplistic charm, with the characters and their sublime acting doing most of the work.
Winslet is excellent as Adele, a woman so heartbroken and terrified by the painful effects of love she no longer leaves the house. Her fragility is exceptionally intense; her hands and facial expressions talk more than words ever could and this is a theme throughout the film. I wouldn’t be surprised if Winslet is nominated for an Oscar at next year’s awards.
However, by far the standout is Gattlin Griffith’s performance as young Henry. Here is a boy who would do anything for his mother. His transition from moody teenager to vulnerable young adult is beautiful to watch and again, his facial expressions speak volumes.
As the police close in on Frank’s location and Adele and Henry’s behaviour becomes ever more suspicious, Labor Day becomes increasingly intense in a ‘will they won’t they’ kind of way. As much as the film drives home the simplicity of its intentions, you can’t helped but get sucked into their predicament and this, along with the acting, is where it stuns most.
Unfortunately, the simple nature of the directing and cinematography leaves a lot of room for other areas to fill, and this doesn’t quite happen.
The score is mind-numbingly dull which is a true shame. Rolfe Kent has created some stunning pieces of music for films across the decades including his Golden Globe nominated work on Sideways, not forgetting the excellent score in The Wedding Crashers. Despite some lift in the latter half of the picture, it remains a relatively music-free affair.
Tobey Maguire’s narration is also a little dull. Those of you familiar with the Spider-Man trilogy will know how irritating Maguire’s voice can be, and unfortunately it’s the case here too.
Overall though, Labor Day fills the void in between the magic of the Christmas blockbuster and the frantic summer season which is approaching thick and fast. Filled with some fine performances from the three lead actors and a story which really makes you believe in second chances, it’s an utterly compelling and emotional spring flick. Only the poor score and uninspiring cinematography lets it down.
https://moviemetropolis.net/2014/03/27/labor-day-review/
SonyLIV–LIVE Cricket TV Movies
Entertainment and Photo & Video
App
Watch India Tour of West Indies and Sri Lanka exclusively on SonyLIV. Welcome to the world of...
SonyLIV-LIVE Cricket TV Movies
Entertainment and Photo & Video
App
Watch India Tour of West Indies and Sri Lanka exclusively on SonyLIV. Welcome to the world of...
Ryan Hill (152 KP) rated Wonder Woman (2017) in Movies
May 18, 2019
"I can save today, you can save the world"
Remember when some trickster claiming to be a former worker from Warner Bros. wrote an open letter saying that Wonder Woman was just another mess of a DC movie, et cetera? I remember how Patty Jenkins responded to that. She tweeted: "Just wait and you'll see".
Honestly, I don't know how anyone could even consider that there was the slightest chance of this movie not being good, and I'm gonna tell you why: this is the very first big female-led superhero movie, in which the title character also happens to be the greatest female superhero in history. If you really think that Patty Jenkins, also the first woman to ever direct a superhero movie of this caliber in a industry where women barely stand any chances to get to direct major blockbusters, would let this movie be anything less than great... You've got another thing coming, mate.
Wonder Woman is a traditional, oldschool superhero movie, but the first essentially feminist one at it, and they couldn't have chosen a better setting to tell this story, or a better character to star in it. The movie's social comments are strong and constantly present, but never forced, because it is only natural: by placing Diana, a princess raised in an island of warrior women, in the middle of the reality of World War I, the absurdities of the feminine role in the world - and so many other human corruptions - automatically come to light. The way Diana reacts to this world raises a great sense of awareness, with a touch of poignant humor to it. There is a very funny subtle arc of her wanting to take out her cloak, but not being able to because her armor is "barely any clothes", hinting not only at society's sexist feminine dressing code - which is still a thing today -, but also gradually adding power to the iconography of Wonder Woman in full costume; this is Wonder Woman's much awaited debut on the big screen in a solo movie, and like Superman and Batman before her, her first appearance needed to be something incredibly striking. Patty knew that, Gal knew that, and they made it happen. Even if we already saw her in BVS, the very first time Wonder Woman walks up in full costume here is undoubtedly one of the most iconic moments in superhero cinema.
Jenkins is extremely devoted to giving Wonder Woman the iconic debut film she deserves, and she nails it - there's quite a bit of remarkable shots and set pieces that let out the same imagetic power as in Donner's Superman, Burton's Batman or even Raimi's Spider-Man, and I must highlight the No Man's Land sequence. It's my favorite part of the movie; Jenkins and Heinberg carefully work on Diana's mindset as she first witness the horrors of human war, not being able to help everyone, horses being hurt so they can move faster, a mother and a child begging for help, and it all leads up to the powerful moment of a woman crossing the land no man could cross - and Heinberg's dialogue doesn't rely on obvious statements such as "fortunately I'm a woman" (I'm looking at you, Batwoman trailer), it simply lets the image strike us, because it is powerful enough by itself, and boy did that cause some serious goosebumps.
Speaking of dialogue... It's so terrific, so well written. The exchanges between Diana and Steve Trevor are very clever and funny, but most of all natural. All the characters are also extremely likable; Allan Heinberg's writing knows that not all of them can be given deep development, but nonetheless he gives them stories, personalities and purposes, and that - plus the charismatic performances - makes them very empathetic. The villains are not as remarkable as in some of the other DCEU films, but they didn't need to be; the movie doesn't require in-depth arcs from its villains. They have a strong presence when they're in scene and a well elaborated lore, and that's everything they need.
Contrary to the Nordic mythology depicted in the MCU, here we are talking about real gods, true deities, not superpowerful aliens that only strike a similar image - and that also brings a few narrative dangers along with it, after all, it was in greek mythological stories that the concept of Deus Ex Machina first appeared. Heinberg's screenplay, though, makes a few clever twists in that mythology to avoid easy solutions, which adds to the storytelling, the world building and the developing of the themes as well. The lore surrounding the God of War Ares, for example, is not a simple Diabolus Ex Machina as "he influences men to war and if you kill him every man goes back to being good and everything's alright", no, it's more narratively complicated and socially engaging than that.
And Gal Gadot... I'm at a loss for words. I'll confess right here that when she was first announced as Wonder Woman, I was one of the few who were very opposed to that casting. I've never been so wrong in my life, and I've never been so happy about it. She really is Wonder Woman. She's so graceful and adorable, but a major badass when she needs to be. The way she moves, the way she curiously looks at things, the way she speaks, and the way she incarnates Diana's evolving from her naive beginnings to the wise warrior... She's not only an icon, she's a true hero. Comparisons to Christopher Reeve's Superman were made for good reasons.
Chris Pine is also great, he walks perfectly in the line between funny and serious, Steve Trevor is a darling character and his chemistry with Gal is on point. Their relationship is very well constructed and becomes highly emotional by the end - there are scenes that filled my heart with joy, and others that made it ache.
The action is exciting and full of originality, and I like how Jenkins uses slow-motion differently than Zack Snyder. I know that Snyder helped her direct some of the action sequences, which is understandable since Jenkins had no experience with this type of movie, but you can tell it's not the same. In the fights themselves, there's this feel of sensibility to how these people react to Diana, and it's slightly different from the typical "regular people react to superhumans among them" trope. The cinematography is very keen on portraying the difference between Themyscira - an island of colors and natural beauty - and "jolly ol' London" - desaturated and smoggy, a scenario in which Diana's colorful armor shines in a most beautiful contrast.
And the soundtrack. Rupert Gregson-Williams made a beautiful score that brings out the best in every scene. It's heroic, very heartfelt, and loyal to the foundations of what makes superhero music so memorable. Gregson-Williams adds new themes to compose Wonder Woman's musical identity, but Hans Zimmer's main theme from BVS still lives, and it plays in some heart-pounding scenes. I love that they're dedicating that much attention to the musical continuity, because amongst Marvel's many qualities, they're doing a lousy job in that area. Wonder Woman's theme is the most catchy superhero theme in a long time, it quickly gained a lot of appreciation and by continuing on using it, Gregson-Williams collaborates to making Wonder Woman the strong cinematic icon she's setting out to be.
The irregular reception of previous DCEU movies also extols the impact of Wonder Woman, as do the distinct styles between the films. One of the DCEU's biggest virtues is that singularity of each film; be it a near disaster movie epic such as Man Of Steel, a complex deconstruction of heroic values such as Batman v Superman, an stylish chaos such as Suicide Squad or a traditional, graceful superhero film such as Wonder Woman, these movies are all in the same universe, and that very fact is an example of its richness. A lot of people will think Wonder Woman is the best DCEU movie of the lot, some will stick to BVS, others to MOS, maybe for some it's Shazam, but that's the fun of it: we can discuss this forever. Each of these movies mean different things to different people, we're way past simply labelling one as "better" and the other as "worse".
Wonder Woman, however, is not simply a movie about a very strong woman. It's an achievement for every woman. There were tons of girls dressed up as Wonder Woman in the theater, and just seeing how ecstatic they were after the movie brought me joy. There were tons of applause. It's a mark. Be that as it may, Wonder Woman will be remembered as the most impactful superhero film of its time. In 1978, Superman showed to the world how a man could fly; in 2017, Wonder Woman showed to the world how a woman can fight.
Honestly, I don't know how anyone could even consider that there was the slightest chance of this movie not being good, and I'm gonna tell you why: this is the very first big female-led superhero movie, in which the title character also happens to be the greatest female superhero in history. If you really think that Patty Jenkins, also the first woman to ever direct a superhero movie of this caliber in a industry where women barely stand any chances to get to direct major blockbusters, would let this movie be anything less than great... You've got another thing coming, mate.
Wonder Woman is a traditional, oldschool superhero movie, but the first essentially feminist one at it, and they couldn't have chosen a better setting to tell this story, or a better character to star in it. The movie's social comments are strong and constantly present, but never forced, because it is only natural: by placing Diana, a princess raised in an island of warrior women, in the middle of the reality of World War I, the absurdities of the feminine role in the world - and so many other human corruptions - automatically come to light. The way Diana reacts to this world raises a great sense of awareness, with a touch of poignant humor to it. There is a very funny subtle arc of her wanting to take out her cloak, but not being able to because her armor is "barely any clothes", hinting not only at society's sexist feminine dressing code - which is still a thing today -, but also gradually adding power to the iconography of Wonder Woman in full costume; this is Wonder Woman's much awaited debut on the big screen in a solo movie, and like Superman and Batman before her, her first appearance needed to be something incredibly striking. Patty knew that, Gal knew that, and they made it happen. Even if we already saw her in BVS, the very first time Wonder Woman walks up in full costume here is undoubtedly one of the most iconic moments in superhero cinema.
Jenkins is extremely devoted to giving Wonder Woman the iconic debut film she deserves, and she nails it - there's quite a bit of remarkable shots and set pieces that let out the same imagetic power as in Donner's Superman, Burton's Batman or even Raimi's Spider-Man, and I must highlight the No Man's Land sequence. It's my favorite part of the movie; Jenkins and Heinberg carefully work on Diana's mindset as she first witness the horrors of human war, not being able to help everyone, horses being hurt so they can move faster, a mother and a child begging for help, and it all leads up to the powerful moment of a woman crossing the land no man could cross - and Heinberg's dialogue doesn't rely on obvious statements such as "fortunately I'm a woman" (I'm looking at you, Batwoman trailer), it simply lets the image strike us, because it is powerful enough by itself, and boy did that cause some serious goosebumps.
Speaking of dialogue... It's so terrific, so well written. The exchanges between Diana and Steve Trevor are very clever and funny, but most of all natural. All the characters are also extremely likable; Allan Heinberg's writing knows that not all of them can be given deep development, but nonetheless he gives them stories, personalities and purposes, and that - plus the charismatic performances - makes them very empathetic. The villains are not as remarkable as in some of the other DCEU films, but they didn't need to be; the movie doesn't require in-depth arcs from its villains. They have a strong presence when they're in scene and a well elaborated lore, and that's everything they need.
Contrary to the Nordic mythology depicted in the MCU, here we are talking about real gods, true deities, not superpowerful aliens that only strike a similar image - and that also brings a few narrative dangers along with it, after all, it was in greek mythological stories that the concept of Deus Ex Machina first appeared. Heinberg's screenplay, though, makes a few clever twists in that mythology to avoid easy solutions, which adds to the storytelling, the world building and the developing of the themes as well. The lore surrounding the God of War Ares, for example, is not a simple Diabolus Ex Machina as "he influences men to war and if you kill him every man goes back to being good and everything's alright", no, it's more narratively complicated and socially engaging than that.
And Gal Gadot... I'm at a loss for words. I'll confess right here that when she was first announced as Wonder Woman, I was one of the few who were very opposed to that casting. I've never been so wrong in my life, and I've never been so happy about it. She really is Wonder Woman. She's so graceful and adorable, but a major badass when she needs to be. The way she moves, the way she curiously looks at things, the way she speaks, and the way she incarnates Diana's evolving from her naive beginnings to the wise warrior... She's not only an icon, she's a true hero. Comparisons to Christopher Reeve's Superman were made for good reasons.
Chris Pine is also great, he walks perfectly in the line between funny and serious, Steve Trevor is a darling character and his chemistry with Gal is on point. Their relationship is very well constructed and becomes highly emotional by the end - there are scenes that filled my heart with joy, and others that made it ache.
The action is exciting and full of originality, and I like how Jenkins uses slow-motion differently than Zack Snyder. I know that Snyder helped her direct some of the action sequences, which is understandable since Jenkins had no experience with this type of movie, but you can tell it's not the same. In the fights themselves, there's this feel of sensibility to how these people react to Diana, and it's slightly different from the typical "regular people react to superhumans among them" trope. The cinematography is very keen on portraying the difference between Themyscira - an island of colors and natural beauty - and "jolly ol' London" - desaturated and smoggy, a scenario in which Diana's colorful armor shines in a most beautiful contrast.
And the soundtrack. Rupert Gregson-Williams made a beautiful score that brings out the best in every scene. It's heroic, very heartfelt, and loyal to the foundations of what makes superhero music so memorable. Gregson-Williams adds new themes to compose Wonder Woman's musical identity, but Hans Zimmer's main theme from BVS still lives, and it plays in some heart-pounding scenes. I love that they're dedicating that much attention to the musical continuity, because amongst Marvel's many qualities, they're doing a lousy job in that area. Wonder Woman's theme is the most catchy superhero theme in a long time, it quickly gained a lot of appreciation and by continuing on using it, Gregson-Williams collaborates to making Wonder Woman the strong cinematic icon she's setting out to be.
The irregular reception of previous DCEU movies also extols the impact of Wonder Woman, as do the distinct styles between the films. One of the DCEU's biggest virtues is that singularity of each film; be it a near disaster movie epic such as Man Of Steel, a complex deconstruction of heroic values such as Batman v Superman, an stylish chaos such as Suicide Squad or a traditional, graceful superhero film such as Wonder Woman, these movies are all in the same universe, and that very fact is an example of its richness. A lot of people will think Wonder Woman is the best DCEU movie of the lot, some will stick to BVS, others to MOS, maybe for some it's Shazam, but that's the fun of it: we can discuss this forever. Each of these movies mean different things to different people, we're way past simply labelling one as "better" and the other as "worse".
Wonder Woman, however, is not simply a movie about a very strong woman. It's an achievement for every woman. There were tons of girls dressed up as Wonder Woman in the theater, and just seeing how ecstatic they were after the movie brought me joy. There were tons of applause. It's a mark. Be that as it may, Wonder Woman will be remembered as the most impactful superhero film of its time. In 1978, Superman showed to the world how a man could fly; in 2017, Wonder Woman showed to the world how a woman can fight.
Purple Phoenix Games (2266 KP) rated Marvel United in Tabletop Games
Sep 1, 2021
This has probably been mentioned before, but I love Marvel superheroes. My favorite has got to be Spider-Man, hands down. Feel free to send me an email if you’d like to hear my thoughts on who is the best Spider-Man – Tobey Maguire, Andrew Garfield, or Tom Holland. I’m getting off topic here… Anyway – when I saw the massive Kickstarter campaign for Marvel United, I knew it was going to be big. Admittedly, I didn’t join in on the campaign (teacher salaries, amiright?), but I did snag a copy of the base game post-campaign. Does the game live up to my expectations? Or does it fall flat, like a DC movie? (OOOOOOH BURN)
Disclaimer: This review encompasses only the base game of Marvel United. There are a number of expansions, but they will not be addressed in this review. -L
Marvel United is a cooperative game in which players take on the roles of various Marvel superheroes tasked with stopping the main Villain from completing their Villainous Plot. Follow the setup instructions detailed in the rulebook, selecting a Villain with whom to battle, 6 random Locations, and whichever Heroes you decide to use to fight the big bad. Place Threat cards, Civilians, and Thugs on the various Locations as indicated, and place the Villain and Heroes as described in the rules. Shuffle the Master Plan deck and respective Hero decks, and each player draws a hand of 3 cards. Choose a Hero as the ‘starting’ Hero, and the game is now ready to begin!
Over a series of turns, players will be resolving Villain effects and playing Hero cards to perform actions. The game always begins with a Villain turn, and the first step is to reveal a Master Plan card, adding it to the Storyline (table). Master Plan cards have different effects to be resolved – move the Villain to a new Location, BAM! effects (usually attacking Heroes or advancing their Villainous Plot towards victory), and adding Civilians/Thugs to surrounding Locations. Once all effects on the Master Plan card are dealt with, the game moves to a Hero turn. During a Hero turn, the player will perform 4 steps: Draw a card, Play a Card, Resolve Actions, and Location Effects. To start, the player will draw a card from their Hero deck and add it to their hand. They then select a card from their hand to play, adding it to the end of the Storyline.
Looking at the symbols at the bottom of their played card, the Hero will now resolve their actions. Actions could be Movement (to an adjacent Location), Attack (Thugs/Henchmen or the Villain in their current Location), Heroic Actions (rescuing Civilians or working to clear the Threat on their current Location), or Wild (any of the previous actions). During this step, a cool twist comes into play – after all, the game is called Marvel United, right? When a Hero plays a card, they resolve the symbols on the bottom of their card AND the symbols on the bottom of the previously played Hero card! This simulates the various Heroes uniting their efforts to take down the Villain! So when selecting your card, be sure to check out the last card to see if you can create a sweet chain of actions for maximum benefit. The final step is to use Location effects, if applicable. Location effects are only available after the Threat to the Location has been cleared, and allows the player to perform special actions (draw extra cards, move to other Locations, etc.). If you end your turn on a Location that has been cleared, you may use its ability if you so choose.
In order to defeat the Villain, the Heroes must complete Missions. The 3 Missions in each game are to Rescue Civilians, Defeat Thugs, and Clear Threats. So with their actions on their turns, Heroes will be working to complete these Missions, moving them closer to victory. The turn sequence of the game is unique as well – the Villain will take a turn after every 3rd Hero turn, not opposite every single Hero. Keep that in mind as you decide which card to play when! The game essentially continues in this fashion (with a few extra effects) until either the Heroes win or they lose. Heroes win if they defeat the Villain! The Villain is defeated when at least 2 Missions are completed, and the Villain has been sufficiently damaged by Attacks. Heroes lose if the Villain completes their Villainous Plot, the deck of Master Plan cards has run out, or if any Hero starts their turn with no cards left to play. The Heroes either win together or lose together.
So I know that kind of sounds like a lot, but I promise that once you get playing, the game flows really well and is pretty intuitive. Marvel United can basically be broken down into 2 steps: Villain turn and Hero turn. All you are doing is playing cards and resolving actions to complete your goals. One of the coolest things about this gameplay is the fact that on your turn you resolve not only your played card, but also the previously played Hero card as well. It does a good job emulating the Heroes working together, and adds a strategic element to the overall gameplay. Maybe you wanted to play a certain card, but based on the last Hero card, you should play this one to benefit the group the most. Players really are all working together to defeat the Villain, instead of each playing their own Hero and going in for the fight one-on-one.
Another neat aspect of the game is the inclusion of the Missions. Heroes are not allowed to directly attack the Villain until at least 2 Missions have been completed. This ups the gameplay because it stops players from just going straight for the Villain from the start, not taking anything else into account. In ‘real life,’ Heroes are also concerned with saving Civilians and neutralizing threats, so the Mission requirement makes the gameplay feel more authentic. Well, as authentic as a superhero game can feel…. The variability of Locations and the random setup of Threats each game means that you likely won’t play the same game twice. Add in expansions too and you’ve got even more scenarios. With different Hero choices, you get to try out different combinations and find out which Heroes really work well together. The gameplay itself may be simple (draw cards, play cards, resolve cards) but the variety of Heroes, Villains, Locations, Threats, etc. keeps it engaging and entertaining.
As for components, I only have positive things to say. The Villain/Hero minis are chunky and cute, the artwork is all colorful and fun to look at, and the cardboard tokens are thick and crisp. All the symbolism in the game is clear, and the text is legible and easy to comprehend. One thing to consider is that this game can be a bit of a table hog if you let it. So just be prepared for a bit of a bigger footprint with this one. Overall, great production quality of the base game, and from what I’ve seen of the expansions, those are top notch as well.
Don’t let the cutesy artwork fool you – Marvel United isn’t an easy game by any means. It takes a decent amount of strategy to be successful, and it does really take a team effort. You stay engaged in the gameplay right up until the very end, and it’s more involved than you would think for being a lighter game. I am also a big fan of Marvel Legendary, and I have to say that this gives me those vibes, but in a more simplified and streamlined way. I’m not sure I would go as far as to call Marvel United “Marvel Legendary Jr.,” but it’s also not entirely a bad idea….. Overall though, I really liked Marvel United way more than I first anticipated. It’s light, yet strategic, and has some unique elements that keep you on your toes. I can’t wait to get my hands on some of the expansions to see how I can mix and match and create even more awesome scenarios! Purple Phoenix Games gives this one a heroic 16 / 18.
Disclaimer: This review encompasses only the base game of Marvel United. There are a number of expansions, but they will not be addressed in this review. -L
Marvel United is a cooperative game in which players take on the roles of various Marvel superheroes tasked with stopping the main Villain from completing their Villainous Plot. Follow the setup instructions detailed in the rulebook, selecting a Villain with whom to battle, 6 random Locations, and whichever Heroes you decide to use to fight the big bad. Place Threat cards, Civilians, and Thugs on the various Locations as indicated, and place the Villain and Heroes as described in the rules. Shuffle the Master Plan deck and respective Hero decks, and each player draws a hand of 3 cards. Choose a Hero as the ‘starting’ Hero, and the game is now ready to begin!
Over a series of turns, players will be resolving Villain effects and playing Hero cards to perform actions. The game always begins with a Villain turn, and the first step is to reveal a Master Plan card, adding it to the Storyline (table). Master Plan cards have different effects to be resolved – move the Villain to a new Location, BAM! effects (usually attacking Heroes or advancing their Villainous Plot towards victory), and adding Civilians/Thugs to surrounding Locations. Once all effects on the Master Plan card are dealt with, the game moves to a Hero turn. During a Hero turn, the player will perform 4 steps: Draw a card, Play a Card, Resolve Actions, and Location Effects. To start, the player will draw a card from their Hero deck and add it to their hand. They then select a card from their hand to play, adding it to the end of the Storyline.
Looking at the symbols at the bottom of their played card, the Hero will now resolve their actions. Actions could be Movement (to an adjacent Location), Attack (Thugs/Henchmen or the Villain in their current Location), Heroic Actions (rescuing Civilians or working to clear the Threat on their current Location), or Wild (any of the previous actions). During this step, a cool twist comes into play – after all, the game is called Marvel United, right? When a Hero plays a card, they resolve the symbols on the bottom of their card AND the symbols on the bottom of the previously played Hero card! This simulates the various Heroes uniting their efforts to take down the Villain! So when selecting your card, be sure to check out the last card to see if you can create a sweet chain of actions for maximum benefit. The final step is to use Location effects, if applicable. Location effects are only available after the Threat to the Location has been cleared, and allows the player to perform special actions (draw extra cards, move to other Locations, etc.). If you end your turn on a Location that has been cleared, you may use its ability if you so choose.
In order to defeat the Villain, the Heroes must complete Missions. The 3 Missions in each game are to Rescue Civilians, Defeat Thugs, and Clear Threats. So with their actions on their turns, Heroes will be working to complete these Missions, moving them closer to victory. The turn sequence of the game is unique as well – the Villain will take a turn after every 3rd Hero turn, not opposite every single Hero. Keep that in mind as you decide which card to play when! The game essentially continues in this fashion (with a few extra effects) until either the Heroes win or they lose. Heroes win if they defeat the Villain! The Villain is defeated when at least 2 Missions are completed, and the Villain has been sufficiently damaged by Attacks. Heroes lose if the Villain completes their Villainous Plot, the deck of Master Plan cards has run out, or if any Hero starts their turn with no cards left to play. The Heroes either win together or lose together.
So I know that kind of sounds like a lot, but I promise that once you get playing, the game flows really well and is pretty intuitive. Marvel United can basically be broken down into 2 steps: Villain turn and Hero turn. All you are doing is playing cards and resolving actions to complete your goals. One of the coolest things about this gameplay is the fact that on your turn you resolve not only your played card, but also the previously played Hero card as well. It does a good job emulating the Heroes working together, and adds a strategic element to the overall gameplay. Maybe you wanted to play a certain card, but based on the last Hero card, you should play this one to benefit the group the most. Players really are all working together to defeat the Villain, instead of each playing their own Hero and going in for the fight one-on-one.
Another neat aspect of the game is the inclusion of the Missions. Heroes are not allowed to directly attack the Villain until at least 2 Missions have been completed. This ups the gameplay because it stops players from just going straight for the Villain from the start, not taking anything else into account. In ‘real life,’ Heroes are also concerned with saving Civilians and neutralizing threats, so the Mission requirement makes the gameplay feel more authentic. Well, as authentic as a superhero game can feel…. The variability of Locations and the random setup of Threats each game means that you likely won’t play the same game twice. Add in expansions too and you’ve got even more scenarios. With different Hero choices, you get to try out different combinations and find out which Heroes really work well together. The gameplay itself may be simple (draw cards, play cards, resolve cards) but the variety of Heroes, Villains, Locations, Threats, etc. keeps it engaging and entertaining.
As for components, I only have positive things to say. The Villain/Hero minis are chunky and cute, the artwork is all colorful and fun to look at, and the cardboard tokens are thick and crisp. All the symbolism in the game is clear, and the text is legible and easy to comprehend. One thing to consider is that this game can be a bit of a table hog if you let it. So just be prepared for a bit of a bigger footprint with this one. Overall, great production quality of the base game, and from what I’ve seen of the expansions, those are top notch as well.
Don’t let the cutesy artwork fool you – Marvel United isn’t an easy game by any means. It takes a decent amount of strategy to be successful, and it does really take a team effort. You stay engaged in the gameplay right up until the very end, and it’s more involved than you would think for being a lighter game. I am also a big fan of Marvel Legendary, and I have to say that this gives me those vibes, but in a more simplified and streamlined way. I’m not sure I would go as far as to call Marvel United “Marvel Legendary Jr.,” but it’s also not entirely a bad idea….. Overall though, I really liked Marvel United way more than I first anticipated. It’s light, yet strategic, and has some unique elements that keep you on your toes. I can’t wait to get my hands on some of the expansions to see how I can mix and match and create even more awesome scenarios! Purple Phoenix Games gives this one a heroic 16 / 18.
BankofMarquis (1832 KP) rated It (2017) in Movies
Feb 14, 2018
IT is very good
I met the clown and IT is...fascinating, gripping, thrilling, humorous, intense and good.
But...is it scary? Sure...scary enough, but this adaptation of Stephen King's bestseller is much, much more than a scary movie.
One of the best screen adaptations of a Stephen King book, ever, IT tells the story of a group of13 year olds in Derry, Maine (one of the main towns featured in a variety of King's stories). It is 1989 and children have been going missing at an alarming rate. The adults in the town seem impassive about this, and when the younger brother of one of the gang goes missing, this "Loser's Club" investigates. What they find is a horrifying evil at the center of it all.
Like the plot of this film, there is much, much more going on in this film than what that last paragraph suggests, for this story is not only about the mystery of the missing children, it is a loving look back at childhood, friendship, caring and bonding. Think of this film as STAND BY ME meets...well...a killer clown.
And the clown IS killer. As played by Bill Skarsgard (TV's THE CROWN), Pennywise The Dancing Clown is slyly sinister, drawing the children in as a spider would a fly. It is only when the children are close (and alone) does he drop the guise of niceness and pounce. This is an intense and terrifyingly terrific performance, keeping the fine line between realism and camp (a line that Tim Curry trounced all over in the TV Mini-series version of this material in the 1980's).
I'm a big fan of Stephen King's writing (having read nearly all of his books and short stories) and I walked out of the theater thinking "finally, someone figured out the right way to make a Stephen King thriller work on the screen" and that someone is Director Andy Muschietti (MAMA). He guides this film with a strong hand, not wavering in his vision or sense of purpose as to where (and how) he wants this story to go. He let's the young actor's lead this story, with Skargard's clown pouncing every now and then. This works well, especially when infusing something that is sorely lacking, typically, in these types of films - humor.
And the humor, mostly, falls into the hands of Richie Tozier (Finn Wolfhard, STRANGER THINGS). He is an absolute bright spot injecting just the wrong (or maybe it is right?) comment in a tense situation, just as a 13 year old boy would do. As part of the "Loser's Club", he holds a bright spot in keeping things together when the mood threatens to get too grim or dire. And grim and dire is what is following this set of "Loser's", a veritable "who's who" of loser stereotypes. There is the "fat kid", Ben Hanscome (Jeremy Ray Taylor, ANT-MAN, in a sweet performance), the "always sick kid with the overbearing mother", Eddie Kasbrak (Jack Dylan Grazer), the "Jewish kid", Stanley Uris (Wyatt Oleff) and the "Black Kid", Mike Hanlon (Chosen Jacobs).
But the heart and sole of this film is the two main leads of the "Loser's Club", Bill Denbrough (Jaeden Lieberher, star of two criminally under-viewed gems MIDNIGHT SPECIAL and ST. VINCENT) and Beverly Marsh (Sophia Lillis, a relative newcomer that bears watching in the future). Both are harboring deep, emotional scars - Bill blames himself for the death of his brother by Pennywise and Beverly is (wrongly) viewed as a 13 year old slut by school rumor and innuendo and is sexually harassed by her father. The relationship between these two and the rest of the Loser's Club is the real treat of this film and the actor's are up to the challenge to draw us in and care about what happens to them when they are, ultimately, separated and confronted by Pennywise.
I was surprised by how little graphic gore there was in this film (though there is plenty of blood) and there is a little too many "jump scares" for my taste, but these are quibbles for a very good, very intense "scary film".
I floated out of the cinema after seeing this film You'll float too.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank (ofMarquis)
But...is it scary? Sure...scary enough, but this adaptation of Stephen King's bestseller is much, much more than a scary movie.
One of the best screen adaptations of a Stephen King book, ever, IT tells the story of a group of13 year olds in Derry, Maine (one of the main towns featured in a variety of King's stories). It is 1989 and children have been going missing at an alarming rate. The adults in the town seem impassive about this, and when the younger brother of one of the gang goes missing, this "Loser's Club" investigates. What they find is a horrifying evil at the center of it all.
Like the plot of this film, there is much, much more going on in this film than what that last paragraph suggests, for this story is not only about the mystery of the missing children, it is a loving look back at childhood, friendship, caring and bonding. Think of this film as STAND BY ME meets...well...a killer clown.
And the clown IS killer. As played by Bill Skarsgard (TV's THE CROWN), Pennywise The Dancing Clown is slyly sinister, drawing the children in as a spider would a fly. It is only when the children are close (and alone) does he drop the guise of niceness and pounce. This is an intense and terrifyingly terrific performance, keeping the fine line between realism and camp (a line that Tim Curry trounced all over in the TV Mini-series version of this material in the 1980's).
I'm a big fan of Stephen King's writing (having read nearly all of his books and short stories) and I walked out of the theater thinking "finally, someone figured out the right way to make a Stephen King thriller work on the screen" and that someone is Director Andy Muschietti (MAMA). He guides this film with a strong hand, not wavering in his vision or sense of purpose as to where (and how) he wants this story to go. He let's the young actor's lead this story, with Skargard's clown pouncing every now and then. This works well, especially when infusing something that is sorely lacking, typically, in these types of films - humor.
And the humor, mostly, falls into the hands of Richie Tozier (Finn Wolfhard, STRANGER THINGS). He is an absolute bright spot injecting just the wrong (or maybe it is right?) comment in a tense situation, just as a 13 year old boy would do. As part of the "Loser's Club", he holds a bright spot in keeping things together when the mood threatens to get too grim or dire. And grim and dire is what is following this set of "Loser's", a veritable "who's who" of loser stereotypes. There is the "fat kid", Ben Hanscome (Jeremy Ray Taylor, ANT-MAN, in a sweet performance), the "always sick kid with the overbearing mother", Eddie Kasbrak (Jack Dylan Grazer), the "Jewish kid", Stanley Uris (Wyatt Oleff) and the "Black Kid", Mike Hanlon (Chosen Jacobs).
But the heart and sole of this film is the two main leads of the "Loser's Club", Bill Denbrough (Jaeden Lieberher, star of two criminally under-viewed gems MIDNIGHT SPECIAL and ST. VINCENT) and Beverly Marsh (Sophia Lillis, a relative newcomer that bears watching in the future). Both are harboring deep, emotional scars - Bill blames himself for the death of his brother by Pennywise and Beverly is (wrongly) viewed as a 13 year old slut by school rumor and innuendo and is sexually harassed by her father. The relationship between these two and the rest of the Loser's Club is the real treat of this film and the actor's are up to the challenge to draw us in and care about what happens to them when they are, ultimately, separated and confronted by Pennywise.
I was surprised by how little graphic gore there was in this film (though there is plenty of blood) and there is a little too many "jump scares" for my taste, but these are quibbles for a very good, very intense "scary film".
I floated out of the cinema after seeing this film You'll float too.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank (ofMarquis)