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Since 2009, the STEINS; GATE series has sold over 1,000,000 copies! "STEINS;GATE", based on the...
Lee (2222 KP) rated Annabelle Comes Home (2019) in Movies
Jul 12, 2019
Enjoyable, not as good as Annabelle Creation
Annabelle Comes Home is the third standalone movie for the creepy looking doll since her introduction during the original Conjuring movie. It's also the seventh feature movie from the ever expanding 'Conjuring Universe', a series of movies that have seen wildly varying degrees of quality and success thus far. I tend to start my reviews for this series of movies by declaring my love for the first Conjuring, before wishing that the latest release I'm reviewing might actually match that. But so far the only other movie in the series to come anywhere close to doing that for me was the last Annabelle movie - Annabelle Creation. So, I had very high hopes for this next Annabelle installment.
After venturing into the past with the previous Annabelle movies, Annabelle Comes Home begins by expanding on the events of The Conjuring. The Warrens take the Annabelle doll into their care in order to keep it safe in their home, under lock and key in their famous artefact room. The car journey home is an eventful one though and it is a real joy to be back in the company of Patrick Wilson and Vera Farmiga and their portrayal of paranormal investigators, Ed and Lorraine Warren. Their characters, and their performances, have been the most enjoyable aspect of these movies for me and this opening chapter with them gets things off to a great start. With Annabelle in the artefact room, blessed by the local priest and contained in a cabinet made out of chapel glass, the evil is contained. And Annabelle is now home.
From there we shift forward a year, where the focus of the movie turns to the Warren's 10 year old daughter Judy (Mckenna Grace). Her parents occupation and reputation is clearly having an effect on her life, with other children at school poking fun at her and refusing to come to her birthday party at the creepy Warren house. That uncomfortable, uneasy feeling of having a room in your house where unspeakable evil is being contained probably doesn't help things either! When her parents have to go away one night, friendly babysitter Mary Ellen comes over to take care of Judy, stepping in to the role of much needed friend. Mary Ellen's friend Daniela arrives to join them a little bit later, uninvited and proving to be a little less straight-laced than Mary Ellen is.
Daniela is currently grieving from the recent loss of her father and is suffering with strong feelings of guilt surrounding the circumstances of his death. She is clearly fascinated and intrigued by the work of the Warrens, so while Mary Ellen and Judy are outside rollerskating, she wastes no time in hunting down the keys to the artefact room so that she can take a poke around inside. As Daniela slowly and carefully examines the room and its many contents for us, it's clear that we're getting a pretty good introduction to the variety of horrors set to be unleashed on the girls in some form later on in the movie. It's a slow buildup though, and on top of the babysitter buildup we've had so far, it's probably a good 45 minutes into the movie before anything substantial happens. I read my review of Annabelle Creation before seeing this movie, and I'd noted that following a similar pattern, with very good results, so I wasn't overly concerned by all of that if the payoff was worth it.
The thing is though, when things do start going a little crazy, the results aren't entirely successful. To be fair, there are some genuinely creepy and very well executed scares. But there are also plenty that don't work so well too. Some new spirits are introduced too, no doubt destined to have their own spin-off movie at some point - 'The Ferryman', who guides souls into the afterlife and requires payment of two coins placed on the eyes of the dead, and the 'Hellhound of Essex'. One of those works considerably well, the other just being distracting and silly.
Despite it's slow-burn start, and it's generic baby-sitter horror setting, I definitely enjoyed Annabelle Comes Home. It's certainly not as good as either of The Conjuring movies, or Annabelle Creation, but it's definitely much better than The Nun or The Curse of La Llorona.
After venturing into the past with the previous Annabelle movies, Annabelle Comes Home begins by expanding on the events of The Conjuring. The Warrens take the Annabelle doll into their care in order to keep it safe in their home, under lock and key in their famous artefact room. The car journey home is an eventful one though and it is a real joy to be back in the company of Patrick Wilson and Vera Farmiga and their portrayal of paranormal investigators, Ed and Lorraine Warren. Their characters, and their performances, have been the most enjoyable aspect of these movies for me and this opening chapter with them gets things off to a great start. With Annabelle in the artefact room, blessed by the local priest and contained in a cabinet made out of chapel glass, the evil is contained. And Annabelle is now home.
From there we shift forward a year, where the focus of the movie turns to the Warren's 10 year old daughter Judy (Mckenna Grace). Her parents occupation and reputation is clearly having an effect on her life, with other children at school poking fun at her and refusing to come to her birthday party at the creepy Warren house. That uncomfortable, uneasy feeling of having a room in your house where unspeakable evil is being contained probably doesn't help things either! When her parents have to go away one night, friendly babysitter Mary Ellen comes over to take care of Judy, stepping in to the role of much needed friend. Mary Ellen's friend Daniela arrives to join them a little bit later, uninvited and proving to be a little less straight-laced than Mary Ellen is.
Daniela is currently grieving from the recent loss of her father and is suffering with strong feelings of guilt surrounding the circumstances of his death. She is clearly fascinated and intrigued by the work of the Warrens, so while Mary Ellen and Judy are outside rollerskating, she wastes no time in hunting down the keys to the artefact room so that she can take a poke around inside. As Daniela slowly and carefully examines the room and its many contents for us, it's clear that we're getting a pretty good introduction to the variety of horrors set to be unleashed on the girls in some form later on in the movie. It's a slow buildup though, and on top of the babysitter buildup we've had so far, it's probably a good 45 minutes into the movie before anything substantial happens. I read my review of Annabelle Creation before seeing this movie, and I'd noted that following a similar pattern, with very good results, so I wasn't overly concerned by all of that if the payoff was worth it.
The thing is though, when things do start going a little crazy, the results aren't entirely successful. To be fair, there are some genuinely creepy and very well executed scares. But there are also plenty that don't work so well too. Some new spirits are introduced too, no doubt destined to have their own spin-off movie at some point - 'The Ferryman', who guides souls into the afterlife and requires payment of two coins placed on the eyes of the dead, and the 'Hellhound of Essex'. One of those works considerably well, the other just being distracting and silly.
Despite it's slow-burn start, and it's generic baby-sitter horror setting, I definitely enjoyed Annabelle Comes Home. It's certainly not as good as either of The Conjuring movies, or Annabelle Creation, but it's definitely much better than The Nun or The Curse of La Llorona.
Phillip McSween (751 KP) rated Creed (2015) in Movies
May 28, 2019
About More Than Just Punching...but the Punching is Good Too
Adonis Creed (Michael B. Jordan), son of former heavyweight champion Apollo Creed, looks to follow in his father’s footsteps and become a legend in his own right.
Acting: 10
The wheels of Creed don’t turn without a stellar performance from star Michael B. Jordan as Adonis. I love what he does with the character, moving with a humble grit and intensity that lets you know that this won’t just be another Rocky character. Tessa Thompson matches his sincerity with realness playing the role of Bianca, love interest of Adonis. She is sensational as Bianca with a smile that can light up a room and the chill attitude of an average person you might meet on the street. Of course Sylvester Stallone does what he does best playing the role that he was born to play in Rocky Balboa. He’s a little older and a little wiser, yet, at his core, Stallone captures the essence of the character we have grown to love over the last forty years.
Beginning: 6
Characters: 10
Cinematography/Visuals: 10
Conflict: 10
The conflict comes not just from the boxing matches, but in the knowing of Adonis trying to rise through the ranks. You see where he is at and rooting for where he ends up. The opponents he faces off against are more seasoned making it fun to watch Adonis’ progression as he continues to improve from the young punk that got knocked on his ass in the gym at the beginning of the movie. Watching the final matchup got me just as excited as when I watched Rocky take on the Russian.
Genre: 9
Almost as classic as the originals, Cinderella Man, or Raging Bull…but not quite. Those were movies that established the genre while this one transformed it. One of the absolute best in the realm of boxing.
Memorability: 10
The memorability comes in the journey. Despite being the son of a hall of fame boxer, Adonis doesn’t grow up with a silver spoon in his mouth. He has to really grind to get to a place of prominence and you get to be a part of that every single step of the way. Adonis has a dream that he can’t run from. From the first time you see him hit the mat to the thrilling conclusion, the movie is packed with memorable moments and a strong message about fighting for your dreams.
Pace: 10
The movie has enough in-the-ring action and training to keep the audience engaged. In between all of that awesomeness, it’s a treat watching the romance develop Adonis and Bianca as well. Creed never lingers too long in the “soft” spots. Before you know it the gloves are back on and we’re watching another showdown.
Plot: 10
Adonis has a dream that he can’t run from and the story doesn’t let him off the hook. I appreciated the unique spin on the “Father’s Foosteps” story. It’s not what you expect and it gives you yet another reason to root for Adonis. The story doesn’t have a ton of moving parts, but it does a fantastic job of doing a lot with a little.
Resolution: 10
Overall: 95
One of my favorite scenes in Creed is the first date between Adonis and Bianca. You hear about hopes and dreams and the obstacles that stand in the way. Watching these strar-crossed lovers succeed together drives the movie deeper than boxing. I hope this series continues to pack a punch for years to come.
Acting: 10
The wheels of Creed don’t turn without a stellar performance from star Michael B. Jordan as Adonis. I love what he does with the character, moving with a humble grit and intensity that lets you know that this won’t just be another Rocky character. Tessa Thompson matches his sincerity with realness playing the role of Bianca, love interest of Adonis. She is sensational as Bianca with a smile that can light up a room and the chill attitude of an average person you might meet on the street. Of course Sylvester Stallone does what he does best playing the role that he was born to play in Rocky Balboa. He’s a little older and a little wiser, yet, at his core, Stallone captures the essence of the character we have grown to love over the last forty years.
Beginning: 6
Characters: 10
Cinematography/Visuals: 10
Conflict: 10
The conflict comes not just from the boxing matches, but in the knowing of Adonis trying to rise through the ranks. You see where he is at and rooting for where he ends up. The opponents he faces off against are more seasoned making it fun to watch Adonis’ progression as he continues to improve from the young punk that got knocked on his ass in the gym at the beginning of the movie. Watching the final matchup got me just as excited as when I watched Rocky take on the Russian.
Genre: 9
Almost as classic as the originals, Cinderella Man, or Raging Bull…but not quite. Those were movies that established the genre while this one transformed it. One of the absolute best in the realm of boxing.
Memorability: 10
The memorability comes in the journey. Despite being the son of a hall of fame boxer, Adonis doesn’t grow up with a silver spoon in his mouth. He has to really grind to get to a place of prominence and you get to be a part of that every single step of the way. Adonis has a dream that he can’t run from. From the first time you see him hit the mat to the thrilling conclusion, the movie is packed with memorable moments and a strong message about fighting for your dreams.
Pace: 10
The movie has enough in-the-ring action and training to keep the audience engaged. In between all of that awesomeness, it’s a treat watching the romance develop Adonis and Bianca as well. Creed never lingers too long in the “soft” spots. Before you know it the gloves are back on and we’re watching another showdown.
Plot: 10
Adonis has a dream that he can’t run from and the story doesn’t let him off the hook. I appreciated the unique spin on the “Father’s Foosteps” story. It’s not what you expect and it gives you yet another reason to root for Adonis. The story doesn’t have a ton of moving parts, but it does a fantastic job of doing a lot with a little.
Resolution: 10
Overall: 95
One of my favorite scenes in Creed is the first date between Adonis and Bianca. You hear about hopes and dreams and the obstacles that stand in the way. Watching these strar-crossed lovers succeed together drives the movie deeper than boxing. I hope this series continues to pack a punch for years to come.
Dean (6927 KP) rated Forza Motorsport 7 in Video Games
May 16, 2021
Amazing graphics, true 4k racing (2 more)
Weather conditions
100's of cars
Loading times (6 more)
Rewind Button
So many menus
Computer AI
Multiplayer races
Grid position
Endurance races
Technically excellent Racing Simulation
A very good Racing Simulation with amazing graphics, true 4k details but with a lot of flaws.
The graphics are the highlight really so much detail on every car and track. While some of the track circuits are sparse, the city tracks especially Prague and Rio de Janeiro look great. Along with the lighting and weather conditions, including thunderstorms make it very realistic.
There is a huge variety of cars from street to every form of racing thinkable, even truck racing.
Unfortunately there are a lot of minor things that add up which are disappointing. Because of the detail in the graphics and large circuits the loading times for the races can be slow. There are so many menus to go through as well. You need to apply Mod cards before most races, like finish in top 5,3,1st, clean laps, races and turning off assists to gain more credits or xp. I'm not a fan of this system. Even after the race you have a few menus to get your rewards.
This is a tough simulation which is why no doubt there is a rewind button for when you go of track or crash. You will need it especially when the computer drivers ram into you or don't observe the racing line. It feels like cheating though. You will need the braking line on most of the time or you are very likely to overrun corners.
With this largely being track racing these are the same tracks mostly that have featured in so many previous Forza Motorsport games. How about a Monaco track? The few street tracks really do look great.
You can full simulation mode where you can do longer races, look after tyres and pit for petrol if you wish. I can't imagine many choosing this option though.
If you are a completist and want to do every race for the cups, you don't need to in order to win the cup, then prepare for the endurance races. At least 2 taking 2.5 hours and one race lasting almost 3 hours long. Why would anyone want to do one race for that long? Most races are 2-4 laps so doing a 60-80 lap race is a huge jump.
There are a wide range of multiplayer races but you really need to tune your car to the max and hope you don't get rammed off at the 1st corner to do well.
The races are big, up to 24 players or computer drivers. Often you start 12th on the grid in the computer races which can make it hard to win when the race is 2 or 3 laps until you get use to the game.
There are a few events like overtake challenges, cone races, bowling but not enough of these for much variety.
So a technically excellent Racing game which is definitely aimed more at the track racing hardcover gamer. Unfortunately it has many minor flaws that do add up which are a bit annoying. Once you win all the cups it's not one you will take for a spin that often. If you want a fun racer the Horizon series is more enjoyable.
The graphics are the highlight really so much detail on every car and track. While some of the track circuits are sparse, the city tracks especially Prague and Rio de Janeiro look great. Along with the lighting and weather conditions, including thunderstorms make it very realistic.
There is a huge variety of cars from street to every form of racing thinkable, even truck racing.
Unfortunately there are a lot of minor things that add up which are disappointing. Because of the detail in the graphics and large circuits the loading times for the races can be slow. There are so many menus to go through as well. You need to apply Mod cards before most races, like finish in top 5,3,1st, clean laps, races and turning off assists to gain more credits or xp. I'm not a fan of this system. Even after the race you have a few menus to get your rewards.
This is a tough simulation which is why no doubt there is a rewind button for when you go of track or crash. You will need it especially when the computer drivers ram into you or don't observe the racing line. It feels like cheating though. You will need the braking line on most of the time or you are very likely to overrun corners.
With this largely being track racing these are the same tracks mostly that have featured in so many previous Forza Motorsport games. How about a Monaco track? The few street tracks really do look great.
You can full simulation mode where you can do longer races, look after tyres and pit for petrol if you wish. I can't imagine many choosing this option though.
If you are a completist and want to do every race for the cups, you don't need to in order to win the cup, then prepare for the endurance races. At least 2 taking 2.5 hours and one race lasting almost 3 hours long. Why would anyone want to do one race for that long? Most races are 2-4 laps so doing a 60-80 lap race is a huge jump.
There are a wide range of multiplayer races but you really need to tune your car to the max and hope you don't get rammed off at the 1st corner to do well.
The races are big, up to 24 players or computer drivers. Often you start 12th on the grid in the computer races which can make it hard to win when the race is 2 or 3 laps until you get use to the game.
There are a few events like overtake challenges, cone races, bowling but not enough of these for much variety.
So a technically excellent Racing game which is definitely aimed more at the track racing hardcover gamer. Unfortunately it has many minor flaws that do add up which are a bit annoying. Once you win all the cups it's not one you will take for a spin that often. If you want a fun racer the Horizon series is more enjoyable.
Bob Mann (459 KP) rated The Death Of Stalin (2017) in Movies
Sep 29, 2021
Death…. Torture…. Child Abuse…. LOL??
Armando Iannucci is most familiar to TV audiences on both sides of the pond for his cutting political satire of the likes of “Veep” and “The Thick of It”, with his only previous foray into directing movies being “In the Loop”: a spin-off of the latter series. Lovers of his work will know that he sails very close to the wind on many occasions, such that watching can be more of a squirm-fest than enjoyment.
Rupert Friend (centre) tries to deliver a eulogy to his father against winged opposition. With (from left to right) Michael Palin, Jeffrey Tambor, Steve Buscemi and Simon Russell Beale.
It should come as no surprise then that his new film – “The Death of Stalin” – follows that same pattern, but transposed into the anarchic and violent world of 1950’s Russia. Based on a French comic strip, the film tells the farcical goings on surrounding the last days of the great dictator in 1953. Stalin keeps distributing his “lists” of undesirables, most of who will meet unpleasant ends before the end of the night. But as Stalin suddenly shuffles off his mortal coil, the race is on among his fellow commissariat members as to who will ultimately succeed him.
Stalin…. Going… but not forgotten.
The constitution dictates that Georgy Malenkov (an excellently vacillating Jeffrey Tambor) secedes but, as a weak man, the job is clearly soon going to become vacant again and spy-chief Lavrentiy Beria (Simon Russell Beale) and Nikita Khrushchev (Steve Buscemi) are jostling for position. (No spoilers, but you’ll never guess who wins!). Colleagues including Molotov (Michael Palin) and Mikoyan (Paul Whitehouse) need to decide who to side with as the machinations around Stalin’s funeral become more and more desperate.
The film starts extremely strongly with the ever-excellent Paddy Considine (“Pride”) playing a Radio Russia producer tasked with recording a classical concert, featuring piano virtuoso Maria Yudina (Olga Kurylenko, “Quantum of Solace”). A definition of paranoia in action!
Great fingering. Olga Kurylenko as Yudina, with more than a hand in the way the evening’s events will unfold.
We then descend into the chaos of Stalin’s Russia, with mass torture and execution colouring the comedy from dark-grey to charcoal-black in turns. There is definitely comedy gold in there: Khrushchev’s translation of his drunken scribblings from the night before (of things that Stalin found funny and – more importantly – things he didn’t) being a high point for me. Stalin’s children Svetlana (Andrea Riseborough, “Nocturnal Animals”) and Vasily (Rupert Friend, “Homeland”) add knockabout humour to offset the darker elements, and army chief Georgy Zhukov (Jason Isaacs, “Harry Potter”) is a riot with a no-nonsense North-of-England accent.
Brass Eye: Jason Isaacs as the army chief from somewhere just north of Wigan.
Production values are universally excellent, with great locations, great sets and a screen populated with enough extras to make the crowd scenes all appear realistic.
Another broad Yorkshire accent: (the almost unknown) Adrian McLoughlin delivers an hysterical speaking voice as Stalin.
The film absolutely held my interest and was thorougly entertaining, but the comedy is just so dark in places it leaves you on edge throughout. The writing is also patchy at times, with some of the lines falling to the ground as heavily as the dispatched Gulag residents.
It’s not going to be for everyone, with significant violence and gruesome scenes, but go along with the black comic theme and this is a film that delivers rewards.
Rupert Friend (centre) tries to deliver a eulogy to his father against winged opposition. With (from left to right) Michael Palin, Jeffrey Tambor, Steve Buscemi and Simon Russell Beale.
It should come as no surprise then that his new film – “The Death of Stalin” – follows that same pattern, but transposed into the anarchic and violent world of 1950’s Russia. Based on a French comic strip, the film tells the farcical goings on surrounding the last days of the great dictator in 1953. Stalin keeps distributing his “lists” of undesirables, most of who will meet unpleasant ends before the end of the night. But as Stalin suddenly shuffles off his mortal coil, the race is on among his fellow commissariat members as to who will ultimately succeed him.
Stalin…. Going… but not forgotten.
The constitution dictates that Georgy Malenkov (an excellently vacillating Jeffrey Tambor) secedes but, as a weak man, the job is clearly soon going to become vacant again and spy-chief Lavrentiy Beria (Simon Russell Beale) and Nikita Khrushchev (Steve Buscemi) are jostling for position. (No spoilers, but you’ll never guess who wins!). Colleagues including Molotov (Michael Palin) and Mikoyan (Paul Whitehouse) need to decide who to side with as the machinations around Stalin’s funeral become more and more desperate.
The film starts extremely strongly with the ever-excellent Paddy Considine (“Pride”) playing a Radio Russia producer tasked with recording a classical concert, featuring piano virtuoso Maria Yudina (Olga Kurylenko, “Quantum of Solace”). A definition of paranoia in action!
Great fingering. Olga Kurylenko as Yudina, with more than a hand in the way the evening’s events will unfold.
We then descend into the chaos of Stalin’s Russia, with mass torture and execution colouring the comedy from dark-grey to charcoal-black in turns. There is definitely comedy gold in there: Khrushchev’s translation of his drunken scribblings from the night before (of things that Stalin found funny and – more importantly – things he didn’t) being a high point for me. Stalin’s children Svetlana (Andrea Riseborough, “Nocturnal Animals”) and Vasily (Rupert Friend, “Homeland”) add knockabout humour to offset the darker elements, and army chief Georgy Zhukov (Jason Isaacs, “Harry Potter”) is a riot with a no-nonsense North-of-England accent.
Brass Eye: Jason Isaacs as the army chief from somewhere just north of Wigan.
Production values are universally excellent, with great locations, great sets and a screen populated with enough extras to make the crowd scenes all appear realistic.
Another broad Yorkshire accent: (the almost unknown) Adrian McLoughlin delivers an hysterical speaking voice as Stalin.
The film absolutely held my interest and was thorougly entertaining, but the comedy is just so dark in places it leaves you on edge throughout. The writing is also patchy at times, with some of the lines falling to the ground as heavily as the dispatched Gulag residents.
It’s not going to be for everyone, with significant violence and gruesome scenes, but go along with the black comic theme and this is a film that delivers rewards.
Gareth von Kallenbach (980 KP) rated Glass (2019) in Movies
Jun 19, 2019
It is hard to believe it has been 19 years since “Unbreakable” arrived in cinemas as the film seemed to setup a sequel but it did not look like it would come to fruition. That all changed in 2016 when “Split” arrived and shocked audiences with a late reveal that showed a connection to the film. Writer/Director M. Night Shyamalan has wasted no time in bringing the new film to fans with the arrival of “GLASS”. The film picks up soon after the events of “Split” as The Horde embodied by 23 personalities in the form of Kevin Wendell Crumb (James McAvoy) continues to kidnap young girls to serve to his highly dangerous 24th personality The Beast.
Security expert David Dunn (Bruce Willis) along with the help of his son attempts to locate the Horde as a new group of girls has gone missing. In time David locates The Beast and the two clash; but end up captured by authorities and sent to a facility for evaluation.
Their captive Dr. Ellie Staple (Sarah Paulson) believes their special abilities are in their minds and that they really do not have the special abilities they believe they do. Each of them have a special cell designed to restrain them as David is under threat of being doused with water while Kevin has a series of strobes which will halt him and trigger a new personality.
Added to the mix is Elijah Price (Samuel L. Jackson), who has been at the facility under heavy sedation after the events of “Unbreakable”.
As the therapy unfolds it becomes clear that an elaborate game of cat and mouse is underway between Price and her charges as each seems to have their own agenda. This all builds to a very unusual final act which left me pondering if I enjoyed the final result or was disappointed with it.
The film seems to slowly be building to a big finale but yet it is far more restrained than one would expect. The film has a constant theme of Super Heroes and their traditional stories and roles as well as that of their Super Villains.
One expects a massive Battle Royale complete with elaborate FX but the film takes a more restrained approach and in doing so may disappoint some fans while pleasing others. The film naturally has its twist moments and while I will not spoil it, I can say I predicted it before I even saw the film. When I saw “Split” I actually told my wife my theory and low and behold it was true. I also predicted the twists for many of Shyamalan’s previous films so I had hoped for a bit more in this regard. The film does offer up some interesting options for another sequel or Spin-Off and the cast was very good especially McAvoy who adds to his menagerie of characters by showing audiences a few more of the ones previously undisclosed.
The film is at times very enjoyable and at times a bit frustrating as it seems to deviate from themes and elements that were setup earlier. That being said it does very much appear that this could indeed be just the start of something much bigger in the series.
http://sknr.net/2019/01/16/glass/
Security expert David Dunn (Bruce Willis) along with the help of his son attempts to locate the Horde as a new group of girls has gone missing. In time David locates The Beast and the two clash; but end up captured by authorities and sent to a facility for evaluation.
Their captive Dr. Ellie Staple (Sarah Paulson) believes their special abilities are in their minds and that they really do not have the special abilities they believe they do. Each of them have a special cell designed to restrain them as David is under threat of being doused with water while Kevin has a series of strobes which will halt him and trigger a new personality.
Added to the mix is Elijah Price (Samuel L. Jackson), who has been at the facility under heavy sedation after the events of “Unbreakable”.
As the therapy unfolds it becomes clear that an elaborate game of cat and mouse is underway between Price and her charges as each seems to have their own agenda. This all builds to a very unusual final act which left me pondering if I enjoyed the final result or was disappointed with it.
The film seems to slowly be building to a big finale but yet it is far more restrained than one would expect. The film has a constant theme of Super Heroes and their traditional stories and roles as well as that of their Super Villains.
One expects a massive Battle Royale complete with elaborate FX but the film takes a more restrained approach and in doing so may disappoint some fans while pleasing others. The film naturally has its twist moments and while I will not spoil it, I can say I predicted it before I even saw the film. When I saw “Split” I actually told my wife my theory and low and behold it was true. I also predicted the twists for many of Shyamalan’s previous films so I had hoped for a bit more in this regard. The film does offer up some interesting options for another sequel or Spin-Off and the cast was very good especially McAvoy who adds to his menagerie of characters by showing audiences a few more of the ones previously undisclosed.
The film is at times very enjoyable and at times a bit frustrating as it seems to deviate from themes and elements that were setup earlier. That being said it does very much appear that this could indeed be just the start of something much bigger in the series.
http://sknr.net/2019/01/16/glass/
Charlie Cobra Reviews (1840 KP) rated Doom Patrol in TV
Jul 4, 2020
Not Your Average Superhero Show - 7/10
Doom Patrol Is a 2019 action/sci-fi, comedy/drama superhero TV series based on the DC comic created by writers Arnold Drake and Bob Haney and artist Bruno Premiani. It was developed by Jeremy Carver, and produced by DC Entertainment and Warner Bros. Television for DC Universe. Doom Patrol is a spin-off of Titans, a superhero TV series also on DC Universe. Starring Brendan Fraser, Timothy Dalton, Alan Tudyk, Matt Bomer and April Bowlby.
Doom Patrol picks up after the events of Titans, and finds the titular heroes in the town of Cloverton, Ohio. However they are a long, long way from being anything resembling heroes. The group consisting of Robotman/Clifford "Cliff" Steele (Brendan Fraser), Negative-man/Larry Trainor (Matt Bomer), Elasti-woman/Rita Farr (April Bowlby) and Crazy Jane/Kay (Diane Guerrero) are taken in by Chief/Dr. Niles Caulder (Timothy Dalton).
They each have suffered horrible accidents that have left them scarred or disfigured but also imbued them with superpowers. They have come together in Doom Manor under the guidance of Dr. Caulder to try and overcome their own demons. However when the good Dr. leaves the manor, a quick venture into the town for the team has far-reaching consequences. An enemy called Mr. Nobody (Alan Tudyk) comes to exact revenge and takes the doctor and everyone in the town with him. Luckily they are left with a possible new member and old friend of the doctor, who has come to check on the town and him, Cyborg (Jovian Wade) from Titans.
This show is really weird and definitely not for everyone. I didn't have the opportunity to watch the Titans show before this, so I don't know how much it affects it in anyway or if it's in the same vein. I also never read the Doom Patrol comics. It didn't seem to me like there was a clear plot at first but the writers are definitely going for a unique and captivating way of grabbing the audience. It's also rated TV-MA and it feels like they're kind of going for that Deadpool audience and a dark humor comedy feel. That being said it's not terrible, it really grows on you. To me the first episode was kind of hit or miss but by the second episode it really pulls you in. The characters motivations and backgrounds are very unique and emotionally appealing. The general atmosphere of the show was kind of all over the place; I mean it's a little bit drama, a little bit action, sometimes slightly horror and kind of gory and a superhero element on top of all all of it, plus sci-fi.
There is a pretty exclusively entertaining character, the narrator/villain Mr. nobody who is played by Alan Tudyk. He is very funny and charismatic and isn't afraid to break the fourth wall, right away in the beginning of the first episode. I guess it's a pretty good show but not for everyone, I would give it a 7/10.
Doom Patrol picks up after the events of Titans, and finds the titular heroes in the town of Cloverton, Ohio. However they are a long, long way from being anything resembling heroes. The group consisting of Robotman/Clifford "Cliff" Steele (Brendan Fraser), Negative-man/Larry Trainor (Matt Bomer), Elasti-woman/Rita Farr (April Bowlby) and Crazy Jane/Kay (Diane Guerrero) are taken in by Chief/Dr. Niles Caulder (Timothy Dalton).
They each have suffered horrible accidents that have left them scarred or disfigured but also imbued them with superpowers. They have come together in Doom Manor under the guidance of Dr. Caulder to try and overcome their own demons. However when the good Dr. leaves the manor, a quick venture into the town for the team has far-reaching consequences. An enemy called Mr. Nobody (Alan Tudyk) comes to exact revenge and takes the doctor and everyone in the town with him. Luckily they are left with a possible new member and old friend of the doctor, who has come to check on the town and him, Cyborg (Jovian Wade) from Titans.
This show is really weird and definitely not for everyone. I didn't have the opportunity to watch the Titans show before this, so I don't know how much it affects it in anyway or if it's in the same vein. I also never read the Doom Patrol comics. It didn't seem to me like there was a clear plot at first but the writers are definitely going for a unique and captivating way of grabbing the audience. It's also rated TV-MA and it feels like they're kind of going for that Deadpool audience and a dark humor comedy feel. That being said it's not terrible, it really grows on you. To me the first episode was kind of hit or miss but by the second episode it really pulls you in. The characters motivations and backgrounds are very unique and emotionally appealing. The general atmosphere of the show was kind of all over the place; I mean it's a little bit drama, a little bit action, sometimes slightly horror and kind of gory and a superhero element on top of all all of it, plus sci-fi.
There is a pretty exclusively entertaining character, the narrator/villain Mr. nobody who is played by Alan Tudyk. He is very funny and charismatic and isn't afraid to break the fourth wall, right away in the beginning of the first episode. I guess it's a pretty good show but not for everyone, I would give it a 7/10.
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Bob Mann (459 KP) rated Fantastic Beasts and Where to Find Them (2016) in Movies
Sep 29, 2021
Marvelous Cash Cows and How to Milk Them.
As just about everyone in the whole muggle world (or nomaj world if you’re reading this in the States) knows, FBaWtFT is the first of a five film spin-off series from the Potter franchise, still under the careful stewardship of David Yates. (And if the other films in the series were ‘amber-lit’ rather than ‘green-lit’, their production now seems assured after the US opening weekend alone has brought in nearly half its $180 million budget).
Set in New York in the mid-1920’s Eddie Redmayne (“The Danish Girl”; “The Theory of Everything”) plays Newt Scamander, a Brit newly arrived with a case full of trouble. Newt is a bit like an amiable and ditsy David Attenborough, with a strong desire to protect and establish breeding colonies for endangered species. It’s fair to say though that these are creatures that even Sir David hasn’t yet filmed.
Within the battered old case (a forerunner of Hermione Grainger’s bag, which was probably borrowed from Mary Poppins), Newt stores a menagerie of strange and wonderful creatures which – after a bump and a mishap – get released by wannabe baker and muggle Jacob Kowalski (Dan Fogler, “Fanboys”). Newt has the job of rounding up the strays with the help of Tina (Katherine Waterston, “Steve Jobs”), an out of favour member of the Magical Congress of the USA (MACUSA). Unfortunately this couldn’t be happening at a worse time: something else – nothing to do with Newt – is wreaking havoc across New York and MACUSA is on red alert suspecting the involvement of a dark wizard, Gellert Grindelwald, following attacks in Europe. And keeping the secrets of wizardry from the NoMaj population is getting increasingly difficult, especially with the efforts of the “Second Salemers” movement run by Mary Lou (Samantha Morton, “Minority Report”) and her strange adopted family.
This film will obviously be an enormous success given the love of all things Potter, but is it any good? Well, its different for sure, being set many years before Potter and only having glancing references to Hogwarts and related matters. And that gives the opportunity to start afresh with new characters and new relationships which is refreshing. It’s all perfectly amiable, with Redmayne’s slightly embarrassed lack of eye-contact* in delivering his lines being charming. [* Is this perhaps the second leading character in a month that is high on the autistic spectrum?] . Redmayne does have a tendency to mutter though and (particularly with the sound system for the cinema I saw this in) this made a lot of his dialogue inaudible. Waterston makes for a charming if somewhat insipid heroine, not being given an awful lot to do in the action sequences.
Kowalski adds a humorous balance to the mixture, but the star comic turns are some of the creatures, especially the Niffler… a light fingered magpie-like creature with a voluminous pouch and expensive tastes!
In the ‘I-almost-know-who-that-is-behind-the-make-up-but-can’t-quite-place-him’ role is Ron “Hellboy” Perlman as the untrustworthy gangster Gnarlack. And in another cameo – and probably paid an enormous fee for his 30 seconds of screen time – is Johnny Depp, which was money well-wasted since, like most of his roles, he was completely unrecognisable (I only knew it was him from checking imdb afterwards).
At the pen is J.K.Rowling herself, and there are a few corking lines in the script. However, in common with many of her novels, there is also a tendency for extrapolation and padding. Some judicial editing could have knocked at least twenty minutes off its child-unfriendly 133 minute running time and made a better film. Undoubtedly the first half of the film is better than the second, with the finale slouching into – as my other half put it – “superhero” territory with much CGI destruction and smashing of glass. What is perhaps most surprising about the story is that there are few obvious set-ups for the next film.
Quirky and original, its a film that will no-doubt please Potter fans and it stands as a decent fantasy film in its own right. It’s difficult though to get the smell of big business and exploitation out of your nostrils: no doubt stockings throughout the world will be full of plush toy nifflers this Christmas.
Set in New York in the mid-1920’s Eddie Redmayne (“The Danish Girl”; “The Theory of Everything”) plays Newt Scamander, a Brit newly arrived with a case full of trouble. Newt is a bit like an amiable and ditsy David Attenborough, with a strong desire to protect and establish breeding colonies for endangered species. It’s fair to say though that these are creatures that even Sir David hasn’t yet filmed.
Within the battered old case (a forerunner of Hermione Grainger’s bag, which was probably borrowed from Mary Poppins), Newt stores a menagerie of strange and wonderful creatures which – after a bump and a mishap – get released by wannabe baker and muggle Jacob Kowalski (Dan Fogler, “Fanboys”). Newt has the job of rounding up the strays with the help of Tina (Katherine Waterston, “Steve Jobs”), an out of favour member of the Magical Congress of the USA (MACUSA). Unfortunately this couldn’t be happening at a worse time: something else – nothing to do with Newt – is wreaking havoc across New York and MACUSA is on red alert suspecting the involvement of a dark wizard, Gellert Grindelwald, following attacks in Europe. And keeping the secrets of wizardry from the NoMaj population is getting increasingly difficult, especially with the efforts of the “Second Salemers” movement run by Mary Lou (Samantha Morton, “Minority Report”) and her strange adopted family.
This film will obviously be an enormous success given the love of all things Potter, but is it any good? Well, its different for sure, being set many years before Potter and only having glancing references to Hogwarts and related matters. And that gives the opportunity to start afresh with new characters and new relationships which is refreshing. It’s all perfectly amiable, with Redmayne’s slightly embarrassed lack of eye-contact* in delivering his lines being charming. [* Is this perhaps the second leading character in a month that is high on the autistic spectrum?] . Redmayne does have a tendency to mutter though and (particularly with the sound system for the cinema I saw this in) this made a lot of his dialogue inaudible. Waterston makes for a charming if somewhat insipid heroine, not being given an awful lot to do in the action sequences.
Kowalski adds a humorous balance to the mixture, but the star comic turns are some of the creatures, especially the Niffler… a light fingered magpie-like creature with a voluminous pouch and expensive tastes!
In the ‘I-almost-know-who-that-is-behind-the-make-up-but-can’t-quite-place-him’ role is Ron “Hellboy” Perlman as the untrustworthy gangster Gnarlack. And in another cameo – and probably paid an enormous fee for his 30 seconds of screen time – is Johnny Depp, which was money well-wasted since, like most of his roles, he was completely unrecognisable (I only knew it was him from checking imdb afterwards).
At the pen is J.K.Rowling herself, and there are a few corking lines in the script. However, in common with many of her novels, there is also a tendency for extrapolation and padding. Some judicial editing could have knocked at least twenty minutes off its child-unfriendly 133 minute running time and made a better film. Undoubtedly the first half of the film is better than the second, with the finale slouching into – as my other half put it – “superhero” territory with much CGI destruction and smashing of glass. What is perhaps most surprising about the story is that there are few obvious set-ups for the next film.
Quirky and original, its a film that will no-doubt please Potter fans and it stands as a decent fantasy film in its own right. It’s difficult though to get the smell of big business and exploitation out of your nostrils: no doubt stockings throughout the world will be full of plush toy nifflers this Christmas.
LeftSideCut (3776 KP) rated Bad Boys for Life (2020) in Movies
Jan 28, 2020
It's says a lot about this third entry into the Bad Boys franchise, when there's been a 17 year gap between movies, and it still manages to be this good!
The Bad Boys films are known for being over the top, sweary, violent, funny, and action packed, and thankfully, this tried and tested formula sticks again.
It's silliness is hugely toned down from the overly gratuitous Bad Boys II, (it's still pretty silly mind), and we're presented with a host of characters that actually ground the franchise a little, and it's all the better for it.
Will Smith and Martin Lawrence are once again hugely likable as detectives Mike Lowrey and Marcus Burnett, the chemistry between the two is still hilariously beautiful and bro-tastic after all these years.
BBFL also introduces a group of new characters, a law enforcement response team known as AMMO, who are also all pretty likable. I feel that the writers are perhaps testing the waters for a potential spin off.
The movies bad guys are drug-queen Isabel Aretas and her son Armando (Kate del Castillo and Jacob Scipio respectively) who both do a pretty good job at playing imposing and dangerous villains.
We also get some back story regarding Mike Lowrey that has never been touched on before - a possible avenue for a prequel maybe?
The action set pieces are exciting and well choreographed (best motorbike chase since John Wick 3) and directors Adil El Arbi and Bilall Fallah - taking over from Michael Bay - do a solid job of delivering a well shot action packed adventure, with just enough nods to the original duology's style.
The only criticisms I have really stem from pacing. The movie feels very staggered for much of the first half and takes a while to really kick into gear, but once it does, it's hugely entertaining.
Also, the comedy is laid on pretty thick and fast from the get go, and there were quite a few moments that didn't land, (predictably, there was plenty of too-old-for-this-shit jokes) but by the same merit, there were plenty that did.
Bad Boys For Life is overall a fun time that is pretty hard to not enjoy, and it actually might just be the best of the series, if not, then it's certainly on par with the first.
The narrative makes a good effort to set up potential directions for the franchise going forward (I counted at least three obvious set ups) but based on the strength of this entry, it something that I would actually like to see, and considering I went to the cinema content in the apparent knowledge that this would be the last one, that can only be a good thing.
The Bad Boys films are known for being over the top, sweary, violent, funny, and action packed, and thankfully, this tried and tested formula sticks again.
It's silliness is hugely toned down from the overly gratuitous Bad Boys II, (it's still pretty silly mind), and we're presented with a host of characters that actually ground the franchise a little, and it's all the better for it.
Will Smith and Martin Lawrence are once again hugely likable as detectives Mike Lowrey and Marcus Burnett, the chemistry between the two is still hilariously beautiful and bro-tastic after all these years.
BBFL also introduces a group of new characters, a law enforcement response team known as AMMO, who are also all pretty likable. I feel that the writers are perhaps testing the waters for a potential spin off.
The movies bad guys are drug-queen Isabel Aretas and her son Armando (Kate del Castillo and Jacob Scipio respectively) who both do a pretty good job at playing imposing and dangerous villains.
We also get some back story regarding Mike Lowrey that has never been touched on before - a possible avenue for a prequel maybe?
The action set pieces are exciting and well choreographed (best motorbike chase since John Wick 3) and directors Adil El Arbi and Bilall Fallah - taking over from Michael Bay - do a solid job of delivering a well shot action packed adventure, with just enough nods to the original duology's style.
The only criticisms I have really stem from pacing. The movie feels very staggered for much of the first half and takes a while to really kick into gear, but once it does, it's hugely entertaining.
Also, the comedy is laid on pretty thick and fast from the get go, and there were quite a few moments that didn't land, (predictably, there was plenty of too-old-for-this-shit jokes) but by the same merit, there were plenty that did.
Bad Boys For Life is overall a fun time that is pretty hard to not enjoy, and it actually might just be the best of the series, if not, then it's certainly on par with the first.
The narrative makes a good effort to set up potential directions for the franchise going forward (I counted at least three obvious set ups) but based on the strength of this entry, it something that I would actually like to see, and considering I went to the cinema content in the apparent knowledge that this would be the last one, that can only be a good thing.