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Charmed & Dangerous
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Magic takes many forms. From malignant hexes to love charms gone amok, you’ll find a vast array of...
Urban Fantasy Paranormal MM Romance
BankofMarquis (1832 KP) rated Elvis (2022) in Movies
Jun 28, 2022
Butler Shines
Director Baz Luhrmann is one of those artists that I always keep an eye out for. His artistic vision is unique and while the films he directs don’t always work - MOULIN ROUGE is on of my all-time favorites, AUSTRALIA is a mess and his take on the GREAT GATSBY works…mostly - but the one thing that can be said about him is that his projects are always interesting (especially visually). So when he decided to create a bio-pic of “The King”, Elvis Presley, I was intrigued.
And…the resulting film - appropriately called ELVIS - works very well, but not because of Luhrmann’s Direction/Style but more because of the TERRIFIC performance at the center of this picture - and, no, I’m not talking about Tom Hanks as Col. Parker.
ELVIS follows - with the usual Luhrmann quick/cut, flashy style - the rise, fall, rise and (ultimately) death of Elvis Presley. Starting with his boyhood in Tupelo, Mississippi - where he found his rhythm in the roots of African-American Gospel/Spirituals - to his ascension to superstar, this films tries to tell it all, mostly through the shadowy viewpoint of Elvis’ Manager, Col. Tom Parker (a heavily made-up Tom Hanks).
And that is part of the problem with this film - it tries to tell TOO big a story, so while some items are covered in slow, glowing detail (like Elvis’ discovery of the music that will be his trademark), while other items (his movie career) are glossed over quickly in a montage. This is out of necessity, for this film is already 2 hours and 40 minutes long, but it does make this film feel somewhat disjointed - especially when you add Luhrmann’s trademark disorienting quick/cut, stylistic directing style. At times I just wanted to yell at Lurhman to lock his camera down in one position so my eyes (and brain) can settle down and watch what’s going on.
The other issue is the viewpoint of this film - it isn’t consistent. Is this a movie about Elvis? Is this a movie about a conman manipulating Elvis? It starts out following Col. Parker as he discovers Elvis and manipulates him to be his exclusive act, but then we leave Col. Tom and follow Elvis for long periods of time before being drawn back into Col’s Parker’s web, so there is confusion as to who’s story we are telling. In the end we tell both, and each one suffers a little bit because of this.
HOWEVER - and this is an important point - these issues are pushed to the back as minor flaws as the central performance of Austin Butler (Wil Ohmsford in the terrible adaption of THE SHANNARA CHRONICLES on TV) as Elvis is AMAZING. It is a captivating, multi-layered performance both on-stage and off. He has created a character that you are drawn to watch and the off-stage Elvis sets the stage for the charismatic, on-stage Elvis that we all know. Butler did his own singing/performing in this film and it is much, much more that “just” an Elvis impersonation. He personifies “The King” and Butler’s name better be called at Awards time. It is that good of a performance, one that should catapult this young man to stardom.
Fairing less well is Tom Hanks as Col. Parker. While he is game under all that make-up, the character is just not written with any nuance and comes off as a one-dimensional villain, constantly lurking in the background. This character just wasn’t interesting enough to hold the screen - especially against Butler.
But see this film to rekindle the spirit of Elvis through the interpretation of Butler, you’ll be glad you did.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
And…the resulting film - appropriately called ELVIS - works very well, but not because of Luhrmann’s Direction/Style but more because of the TERRIFIC performance at the center of this picture - and, no, I’m not talking about Tom Hanks as Col. Parker.
ELVIS follows - with the usual Luhrmann quick/cut, flashy style - the rise, fall, rise and (ultimately) death of Elvis Presley. Starting with his boyhood in Tupelo, Mississippi - where he found his rhythm in the roots of African-American Gospel/Spirituals - to his ascension to superstar, this films tries to tell it all, mostly through the shadowy viewpoint of Elvis’ Manager, Col. Tom Parker (a heavily made-up Tom Hanks).
And that is part of the problem with this film - it tries to tell TOO big a story, so while some items are covered in slow, glowing detail (like Elvis’ discovery of the music that will be his trademark), while other items (his movie career) are glossed over quickly in a montage. This is out of necessity, for this film is already 2 hours and 40 minutes long, but it does make this film feel somewhat disjointed - especially when you add Luhrmann’s trademark disorienting quick/cut, stylistic directing style. At times I just wanted to yell at Lurhman to lock his camera down in one position so my eyes (and brain) can settle down and watch what’s going on.
The other issue is the viewpoint of this film - it isn’t consistent. Is this a movie about Elvis? Is this a movie about a conman manipulating Elvis? It starts out following Col. Parker as he discovers Elvis and manipulates him to be his exclusive act, but then we leave Col. Tom and follow Elvis for long periods of time before being drawn back into Col’s Parker’s web, so there is confusion as to who’s story we are telling. In the end we tell both, and each one suffers a little bit because of this.
HOWEVER - and this is an important point - these issues are pushed to the back as minor flaws as the central performance of Austin Butler (Wil Ohmsford in the terrible adaption of THE SHANNARA CHRONICLES on TV) as Elvis is AMAZING. It is a captivating, multi-layered performance both on-stage and off. He has created a character that you are drawn to watch and the off-stage Elvis sets the stage for the charismatic, on-stage Elvis that we all know. Butler did his own singing/performing in this film and it is much, much more that “just” an Elvis impersonation. He personifies “The King” and Butler’s name better be called at Awards time. It is that good of a performance, one that should catapult this young man to stardom.
Fairing less well is Tom Hanks as Col. Parker. While he is game under all that make-up, the character is just not written with any nuance and comes off as a one-dimensional villain, constantly lurking in the background. This character just wasn’t interesting enough to hold the screen - especially against Butler.
But see this film to rekindle the spirit of Elvis through the interpretation of Butler, you’ll be glad you did.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Hazel (1853 KP) rated God: A Human History in Books
Nov 5, 2017
An Ambiguous History
I received this book for free through Goodreads First Reads.
Where did religion come from? This is the question Reza Aslan, a scholar of religions, attempts to answer in his latest publication, God: A Human History. To date, Aslan has tackled subjects such as the life of Jesus of Nazareth, and the origins, evolution and future of Islam. In this book, the author journeys back to the earliest evidence of human existence and, using a mix of resources, theories and investigations, tries to determine how our ancestors conceived the idea of gods and souls. Maintaining the idea that the majority of humans think of God as a divine version of ourselves, Aslan also looks at the way our perception of life after death has altered due to the changes in our governments and cultures.
Reza Aslan claims that he, a Muslim-devout-Christian-convert-turned-Sufi, is neither trying to prove or disprove the existence of God or gods. Instead, he is providing readers with a thorough history of religion with a strong suggestion that we, as believers, have fashioned God in our image, and not the other way around.
Insisting that belief systems are inherited from each previous generation, Aslan takes a look at ancient cave drawings where he, and many other theorists, surmise that a form of religion was already well underway. Lack of written word results in a lot of speculation and hypothesis as to what these, usually animal-like, drawings represent, however, many have come to the conclusion that early humans had some form of animistic belief system.
Although not a dig at religion, after all, the author is religious himself, the following chapters bring in to question the authenticity of past and present beliefs. With reference to various psychologists, Aslan poses the theory that ancient humans may have misinterpreted dreams as evidence of a spirit realm. With no one qualified to clarify the things they did not understand, anything without a clear explanation may have been attributed to a god or gods.
As the author describes how religious ideas may have developed from these primitive beliefs to the fully detailed faiths of today, he labels the human race as anthropocentric creatures that have based their religions on human traits and emotions. By reporting in this way, it comes across that the past ideas of the soul, spiritual realms, gods and so forth could not possibly be true, yet, as the final chapters suggest, Aslan is still adamant about the existence of God.
Aslan’s narrative speeds up, finally reaching the recognizable religions of today. Beginning with the Israelites, enslaved by the Egyptians, the author explains, using biblical references, how the first successful monotheistic religion came about. However, researchers have studied the early Bible texts and are inconclusive as to whether the God worshipped by the Jews was the only divine being or whether there were others of a similar standing.
Next, Aslan explores Christianity, posing more questions than he solves, for example, is God one or is God three (i.e. the Holy Trinity)? He defines and compares the definitions of monotheism and pantheism, eventually bringing in Islam and the development of Sufism, which he is not afraid of admitting he agrees with.
God: A Human History is disappointingly short, ending with the feeble conclusion that humans are born with the ability to be convinced of the existence of a divine being and the soul, but it is our own choice to decide whether or not to believe in them. The remaining third of the book is an abundance of notes on the texts, bibliographical references, and Reza Aslan’s personal opinions about the ideas and theories mentioned in his history of religion.
Although an extensive history on the origins of religion, God: A Human History leaves readers none the wiser as to whether their belief is founded in truth or whether it is something that has evolved over time due to lack of understanding about the world. Granted, it was not the aim of the book to prove or disprove the existence of God, however, it may unintentionally sow seeds of doubt or, potentially, anger devout believers. However, there is no attempt at persuading readers to believe one thing or another, thus making it suitable for people of all religion and none.
Where did religion come from? This is the question Reza Aslan, a scholar of religions, attempts to answer in his latest publication, God: A Human History. To date, Aslan has tackled subjects such as the life of Jesus of Nazareth, and the origins, evolution and future of Islam. In this book, the author journeys back to the earliest evidence of human existence and, using a mix of resources, theories and investigations, tries to determine how our ancestors conceived the idea of gods and souls. Maintaining the idea that the majority of humans think of God as a divine version of ourselves, Aslan also looks at the way our perception of life after death has altered due to the changes in our governments and cultures.
Reza Aslan claims that he, a Muslim-devout-Christian-convert-turned-Sufi, is neither trying to prove or disprove the existence of God or gods. Instead, he is providing readers with a thorough history of religion with a strong suggestion that we, as believers, have fashioned God in our image, and not the other way around.
Insisting that belief systems are inherited from each previous generation, Aslan takes a look at ancient cave drawings where he, and many other theorists, surmise that a form of religion was already well underway. Lack of written word results in a lot of speculation and hypothesis as to what these, usually animal-like, drawings represent, however, many have come to the conclusion that early humans had some form of animistic belief system.
Although not a dig at religion, after all, the author is religious himself, the following chapters bring in to question the authenticity of past and present beliefs. With reference to various psychologists, Aslan poses the theory that ancient humans may have misinterpreted dreams as evidence of a spirit realm. With no one qualified to clarify the things they did not understand, anything without a clear explanation may have been attributed to a god or gods.
As the author describes how religious ideas may have developed from these primitive beliefs to the fully detailed faiths of today, he labels the human race as anthropocentric creatures that have based their religions on human traits and emotions. By reporting in this way, it comes across that the past ideas of the soul, spiritual realms, gods and so forth could not possibly be true, yet, as the final chapters suggest, Aslan is still adamant about the existence of God.
Aslan’s narrative speeds up, finally reaching the recognizable religions of today. Beginning with the Israelites, enslaved by the Egyptians, the author explains, using biblical references, how the first successful monotheistic religion came about. However, researchers have studied the early Bible texts and are inconclusive as to whether the God worshipped by the Jews was the only divine being or whether there were others of a similar standing.
Next, Aslan explores Christianity, posing more questions than he solves, for example, is God one or is God three (i.e. the Holy Trinity)? He defines and compares the definitions of monotheism and pantheism, eventually bringing in Islam and the development of Sufism, which he is not afraid of admitting he agrees with.
God: A Human History is disappointingly short, ending with the feeble conclusion that humans are born with the ability to be convinced of the existence of a divine being and the soul, but it is our own choice to decide whether or not to believe in them. The remaining third of the book is an abundance of notes on the texts, bibliographical references, and Reza Aslan’s personal opinions about the ideas and theories mentioned in his history of religion.
Although an extensive history on the origins of religion, God: A Human History leaves readers none the wiser as to whether their belief is founded in truth or whether it is something that has evolved over time due to lack of understanding about the world. Granted, it was not the aim of the book to prove or disprove the existence of God, however, it may unintentionally sow seeds of doubt or, potentially, anger devout believers. However, there is no attempt at persuading readers to believe one thing or another, thus making it suitable for people of all religion and none.
Midge (525 KP) rated Death In Provence in Books
Feb 2, 2019
Many twists and turns of the plot (1 more)
Great pacing
A Light And Relaxing Read
DEATH IN PROVENCE is a wonderful, light, and relaxed read with all of the matching vibes you get when on holiday. That’s exactly how I felt - this novel is almost as good being on a long vacation.
It is a refreshing, mystery fiction novel set in wonderfully scenic St Merlot, a sleepy, quiet village that has infrequent visitors at the unfashionable end of the Luberon Valley, France. St Merlot is unspoilt, with dry stone walls and wildflowers.
What’s really likeable about it straight-away are the opening chapters that draw you into the main character, Penelope Kite. Recently retired and divorced, she is an optimistic, happy, fifty-year-old with plenty of joie-de-vivre. Penelope, or Penny to her friends, has put her unfaithful ex-husband and her ungrateful stepchildren first, for a long time. Since she left her job in forensics at the Home Office in England, she’s been an unpaid babysitter and chauffeur for her grandchildren. Now, she’s going to start living for herself so she buys her dream house, Le Chant d’Eau, or The Song of Water. The stone farmhouse tucked high in the hills is in need of major restoration but is complete with a garden, swimming pool, and sweeping mountain vistas.
But not long after her arrival at Le Chant d’Eau, a corpse is found floating in her swimming pool. The local detective doesn’t seem particularly interested in finding out either the truth or the murderer, but Penny knows a thing or two about murder investigations herself so she starts an investigation of her own.
Enter Clemence Valencourt, the chic but supercilious estate agent, the disdainful chief of police, Inspector Paul Gamelin brought in from the headquarters of the Police Municipale in Cavaillon to investigate. He is 40-ish, has a tanned narrow face, greying hair and a grave demeanour. He also speaks excellent English. The devilishly handsome local mayor is called in to formally identify the corpse. He is the maire de St Merlot, and is gorgeous, with floppy sun-streaked hair, a caramel tan and chiselled cheekbones He also has stunning dark blue eyes...
All this and being tempted by the delightful food and drink delicacies that Provence has to offer. Luckily her kind and high-spirited, old friend, Frankie who is conveniently fluid in French is just a flight away.
One of the highlights of the book is following the many twists and turns of the plot. I liked the fact that Penny is a smart 50-year-old woman who has lots of life experience and is trying to come to terms with ageing and that she is not quite as naive as her new neighbours in St. Merlot seem to believe. Both the plot and the character development are excellent, and the story is captivating and engaging. It held my interest from start to finish.
DEATH IN PROVENCE was an interesting novel particularly for the interplay of the different secondary characters as well as the primary ones - a reticent and monosyllabic neighbour, an eccentric but honourable gardener, a jaunty and smiling electrician, and a close-knit village community, to name but a few. Plenty of ups and downs along the way and plenty of surprises. I loved Serena Kent’s writing style which I found to be so vivid and very easy to read. The descriptions of the places, people and food were very real and it was easy to imagine that you were actually there. She has reflected the spirit of the French villagers, their individuality brilliantly.
Although I did not figure out who was behind the murders, even though all the clues were there, I had a great time guessing and I loved it! I was very satisfied with the ending. I have been inspired to read more from Serena Kent and I highly recommend this book. I suggest wholeheartedly that you add it to your reading list.
Thank you to Edelweiss and the publisher for a free ARC of this book in exchange for an honest review.
It is a refreshing, mystery fiction novel set in wonderfully scenic St Merlot, a sleepy, quiet village that has infrequent visitors at the unfashionable end of the Luberon Valley, France. St Merlot is unspoilt, with dry stone walls and wildflowers.
What’s really likeable about it straight-away are the opening chapters that draw you into the main character, Penelope Kite. Recently retired and divorced, she is an optimistic, happy, fifty-year-old with plenty of joie-de-vivre. Penelope, or Penny to her friends, has put her unfaithful ex-husband and her ungrateful stepchildren first, for a long time. Since she left her job in forensics at the Home Office in England, she’s been an unpaid babysitter and chauffeur for her grandchildren. Now, she’s going to start living for herself so she buys her dream house, Le Chant d’Eau, or The Song of Water. The stone farmhouse tucked high in the hills is in need of major restoration but is complete with a garden, swimming pool, and sweeping mountain vistas.
But not long after her arrival at Le Chant d’Eau, a corpse is found floating in her swimming pool. The local detective doesn’t seem particularly interested in finding out either the truth or the murderer, but Penny knows a thing or two about murder investigations herself so she starts an investigation of her own.
Enter Clemence Valencourt, the chic but supercilious estate agent, the disdainful chief of police, Inspector Paul Gamelin brought in from the headquarters of the Police Municipale in Cavaillon to investigate. He is 40-ish, has a tanned narrow face, greying hair and a grave demeanour. He also speaks excellent English. The devilishly handsome local mayor is called in to formally identify the corpse. He is the maire de St Merlot, and is gorgeous, with floppy sun-streaked hair, a caramel tan and chiselled cheekbones He also has stunning dark blue eyes...
All this and being tempted by the delightful food and drink delicacies that Provence has to offer. Luckily her kind and high-spirited, old friend, Frankie who is conveniently fluid in French is just a flight away.
One of the highlights of the book is following the many twists and turns of the plot. I liked the fact that Penny is a smart 50-year-old woman who has lots of life experience and is trying to come to terms with ageing and that she is not quite as naive as her new neighbours in St. Merlot seem to believe. Both the plot and the character development are excellent, and the story is captivating and engaging. It held my interest from start to finish.
DEATH IN PROVENCE was an interesting novel particularly for the interplay of the different secondary characters as well as the primary ones - a reticent and monosyllabic neighbour, an eccentric but honourable gardener, a jaunty and smiling electrician, and a close-knit village community, to name but a few. Plenty of ups and downs along the way and plenty of surprises. I loved Serena Kent’s writing style which I found to be so vivid and very easy to read. The descriptions of the places, people and food were very real and it was easy to imagine that you were actually there. She has reflected the spirit of the French villagers, their individuality brilliantly.
Although I did not figure out who was behind the murders, even though all the clues were there, I had a great time guessing and I loved it! I was very satisfied with the ending. I have been inspired to read more from Serena Kent and I highly recommend this book. I suggest wholeheartedly that you add it to your reading list.
Thank you to Edelweiss and the publisher for a free ARC of this book in exchange for an honest review.
RəX Regent (349 KP) rated Godzilla (1954) in Movies
Feb 25, 2019
The beginning was inspired...
Contains spoilers, click to show
I was first introduced to Godzilla in cartoon form in the 1980′s as a child, but it wasn't until 1998, with Roland Emmerich's blockbuster reboot that I had seen the infamous beast on the pearl screen. I had also seem bits and bobs of the many original sequels as a child and they had made absolutely no impact on me what so ever! But I became aware of the significance of this, the original, only recently and it was due to this discovery that I hunted down the best copy available.
I ended up with the 2005 Region 1 release, which also includes the U.S. reworking from 1956, Godzilla: King Of The Monsters!. I could not have imagined that a the 1954 version of Godzilla, or more literally, Gojira, could have been so mature, so sombre, or so tempered with its sledgehammer philosophising. Produced just nine years after the devastating nuclear bombings of Hiroshima and Nagasaki, which effectively ended the Second World War, Gojira takes up the mantle on doing what Science Fiction does best, and created the cypher in the form of Godzilla, to represent the devastation left over from the nuking of these cities.
Godzilla is a nuclear beast, affected by U.S. nuclear tests and is now toxically radioactive and upon landfall on Tokyo, rains down, literally, nuclear destruction up on the city, in a manner not dissimilar too that levied upon either of the cities, Hiroshima or Nagasaki. But its not just about that. It about the creation of the next WMD which would ultimately be used against Godzilla but poses and moral dilemma that Robert Oppenheimer himself would appreciate, as to whether such a creation should be allowed to be developed. It also looks quite seriously into establishing the potential evolution of a creature such as Godzilla and uses plausible palaeontological arguments to justify his existence.
The pacing was good and though Godzilla strikes from almost the opening frame, there is a sense of an ongoing crisis rather than an impending apocalypse, with news outlets reporting throughout as plans, both military and civilian are sited.
All in all, this is not just the birth of the massive and largely corny and cheap Godzilla series, it is a striking, intelligent, moving and incredibly well judged masterpiece of 50′s cinema. But I should have known. Most rubbish franchises began with an inspired first movie, something to break the mould and this does the job perfectly.
But it isn't without its flaws. The special effects, though not all bad, are below par even for the time, but effective as for telling the story, some were very good with ALL being well conceived and ambitious. Some were very poor though, such as the model ships, which were unnecessarily below the standards and look like bath toys. But the cinematography was wonderful, with Honda shooting this in a classically manner. Tension was built brilliantly and the action rose to several crescendos and the excellent score by Akira Ifukube was not overused but brought to perfect effect when needed.
The acting was first-rate as well, proving Japanese cinemas reputation. But this was my first real foray into Japanese cinema, and what a treat it was. Many would look at this and see a cheap old film and others will see a film that whist let down by some less that brilliant visual effects and the fact that a lot of people, certainly in the U.K. find subtitles difficult, as a masterpiece not only of Eastern cinema but of cinema full stop. Truly realising its narrative and spirit, its cause and message. This was about a county in mourning not only for the hundreds of thousands lost by Fat Man and Little Boy, but for the war full stop. The 1950′s were a time of great political fear and reconstruction after WW2, and this is a film which taps into the brewing Cold War and fear of annihilation from human behemoths which once released can never be returned.
HIGHLY recommended but not for children as they will bore, miss the point, get put off by the subtitles, black and white and quite frankly its a mature and bleak film and not the 1998 remake. And thank God or Godzilla for that!
I ended up with the 2005 Region 1 release, which also includes the U.S. reworking from 1956, Godzilla: King Of The Monsters!. I could not have imagined that a the 1954 version of Godzilla, or more literally, Gojira, could have been so mature, so sombre, or so tempered with its sledgehammer philosophising. Produced just nine years after the devastating nuclear bombings of Hiroshima and Nagasaki, which effectively ended the Second World War, Gojira takes up the mantle on doing what Science Fiction does best, and created the cypher in the form of Godzilla, to represent the devastation left over from the nuking of these cities.
Godzilla is a nuclear beast, affected by U.S. nuclear tests and is now toxically radioactive and upon landfall on Tokyo, rains down, literally, nuclear destruction up on the city, in a manner not dissimilar too that levied upon either of the cities, Hiroshima or Nagasaki. But its not just about that. It about the creation of the next WMD which would ultimately be used against Godzilla but poses and moral dilemma that Robert Oppenheimer himself would appreciate, as to whether such a creation should be allowed to be developed. It also looks quite seriously into establishing the potential evolution of a creature such as Godzilla and uses plausible palaeontological arguments to justify his existence.
The pacing was good and though Godzilla strikes from almost the opening frame, there is a sense of an ongoing crisis rather than an impending apocalypse, with news outlets reporting throughout as plans, both military and civilian are sited.
All in all, this is not just the birth of the massive and largely corny and cheap Godzilla series, it is a striking, intelligent, moving and incredibly well judged masterpiece of 50′s cinema. But I should have known. Most rubbish franchises began with an inspired first movie, something to break the mould and this does the job perfectly.
But it isn't without its flaws. The special effects, though not all bad, are below par even for the time, but effective as for telling the story, some were very good with ALL being well conceived and ambitious. Some were very poor though, such as the model ships, which were unnecessarily below the standards and look like bath toys. But the cinematography was wonderful, with Honda shooting this in a classically manner. Tension was built brilliantly and the action rose to several crescendos and the excellent score by Akira Ifukube was not overused but brought to perfect effect when needed.
The acting was first-rate as well, proving Japanese cinemas reputation. But this was my first real foray into Japanese cinema, and what a treat it was. Many would look at this and see a cheap old film and others will see a film that whist let down by some less that brilliant visual effects and the fact that a lot of people, certainly in the U.K. find subtitles difficult, as a masterpiece not only of Eastern cinema but of cinema full stop. Truly realising its narrative and spirit, its cause and message. This was about a county in mourning not only for the hundreds of thousands lost by Fat Man and Little Boy, but for the war full stop. The 1950′s were a time of great political fear and reconstruction after WW2, and this is a film which taps into the brewing Cold War and fear of annihilation from human behemoths which once released can never be returned.
HIGHLY recommended but not for children as they will bore, miss the point, get put off by the subtitles, black and white and quite frankly its a mature and bleak film and not the 1998 remake. And thank God or Godzilla for that!
Movie Metropolis (309 KP) rated Tomb Raider (2018) in Movies
Jun 10, 2019
Contains little tomb raiding
Academy Award-winner Alicia Vikander is probably not the first choice for many to portray legendary video game character, Lara Croft. Perhaps Jennifer Lawrence, Natalie Portman or even Keira Knightley would have been above Vikander to be in with a shot of bagging the role?
That’s all conjecture anyway as Vikander is the leading lady we have ended up with, for better or for worse. But is this Tomb Raider reboot the film to end that dreaded video game to movie curse and can Vikander take on the role that Angelina Jolie made so famous back in the early 00s? Read on to find out.
Lara Croft (Vikander) is the fiercely independent daughter of an eccentric adventurer (Dominic West) who vanished years earlier. Hoping to solve the mystery of her father’s disappearance, Croft embarks on a perilous journey to his last-known destination – a fabled tomb on a mythical island that might be somewhere off the coast of Japan. The stakes couldn’t be higher as Lara must rely on her sharp mind, blind faith and stubborn spirit to venture into the unknown.
Director Roar Uthaug, who only has a few Swedish movies to his name, directs a decent, if not outstanding adaptation of the famous character’s origins story that features some nifty action set-pieces intertwined with a hectic and often nausea-inducing filming style. It doesn’t break the video game to movie curse, but it’s a good shot.
Unfortunately, the cast is one of the film’s weakest points. Vikander is a whiny, self-absorbed brat for the majority of the runtime, only letting this insipid persona go in the latter half of the movie. This is through no fault of her own as her performance is as solid as we’ve come to expect from the actress, but the script really lets her down. The film starts off poorly with a messily edited boxing match giving way to a rather implausible bike chase that ends with Vikander face planting the bonnet of a police car. Thankfully, this is as bad as it gets.
From then on, the audience is treated to a selection of thrilling set-pieces, populated by some very good CGI indeed. It’s just unfortunate the characters lack any sort of presence whatsoever. Outside of Vikander’s insipid Lara, the rest of the cast are merely there to offer expositional dialogue. Dominic West in particular, who plays Lara’s father, spouts nothing but exposition, even narrating certain parts of the movie.
Apart from a couple of scenes involving Nick Frost as a greedy pawnbroker, Tomb Raider is devoid of any sense of fun whatsoever
Elsewhere, for a film called Tomb Raider, there’s very little tomb raiding to be had. In fact, it feels like a hybrid of Kong: Skull Island,The Mummy, Indiana Jones and The Hunger Games and for this reason it lacks a sense of identity and any originality whatsoever.
Cinematography wise, Tomb Raider is competent but not exceptional. The shot choices are limited and the action is sometimes messily edited to the point where it’s difficult to tell exactly what it is that’s going on. It avoids unnecessary shaky cam, which is a miracle in itself but it’s not the best the genre has to offer.
Unfortunately, director Roar Uthaug’s idea to go the complete opposite of many blockbusters nowadays results in a film that really doesn’t have a sense of humour. Apart from a couple of scenes involving Nick Frost as a greedy pawnbroker, Tomb Raider is devoid of any sense of fun whatsoever. It seems the scriptwriters missed the memo about the premise being absolutely ridiculous – a dose of humour would have done this tale a world of good.
Overall, Tomb Raider is a decent stab at resurrecting a character that Angelina Jolie performed so well over the course of her two films in the early 00s. Alicia Vikander plays a very different Lara Croft to Jolie and whilst she may need a couple more films for us to get acquainted with her, she’s off to a reasonable if unoriginal start. Whether or not she gets the chance to tomb raid again remains to be seen, it all depends on those box-office numbers.
https://moviemetropolis.net/2018/03/16/tomb-raider-review-contains-little-tomb-raiding/
That’s all conjecture anyway as Vikander is the leading lady we have ended up with, for better or for worse. But is this Tomb Raider reboot the film to end that dreaded video game to movie curse and can Vikander take on the role that Angelina Jolie made so famous back in the early 00s? Read on to find out.
Lara Croft (Vikander) is the fiercely independent daughter of an eccentric adventurer (Dominic West) who vanished years earlier. Hoping to solve the mystery of her father’s disappearance, Croft embarks on a perilous journey to his last-known destination – a fabled tomb on a mythical island that might be somewhere off the coast of Japan. The stakes couldn’t be higher as Lara must rely on her sharp mind, blind faith and stubborn spirit to venture into the unknown.
Director Roar Uthaug, who only has a few Swedish movies to his name, directs a decent, if not outstanding adaptation of the famous character’s origins story that features some nifty action set-pieces intertwined with a hectic and often nausea-inducing filming style. It doesn’t break the video game to movie curse, but it’s a good shot.
Unfortunately, the cast is one of the film’s weakest points. Vikander is a whiny, self-absorbed brat for the majority of the runtime, only letting this insipid persona go in the latter half of the movie. This is through no fault of her own as her performance is as solid as we’ve come to expect from the actress, but the script really lets her down. The film starts off poorly with a messily edited boxing match giving way to a rather implausible bike chase that ends with Vikander face planting the bonnet of a police car. Thankfully, this is as bad as it gets.
From then on, the audience is treated to a selection of thrilling set-pieces, populated by some very good CGI indeed. It’s just unfortunate the characters lack any sort of presence whatsoever. Outside of Vikander’s insipid Lara, the rest of the cast are merely there to offer expositional dialogue. Dominic West in particular, who plays Lara’s father, spouts nothing but exposition, even narrating certain parts of the movie.
Apart from a couple of scenes involving Nick Frost as a greedy pawnbroker, Tomb Raider is devoid of any sense of fun whatsoever
Elsewhere, for a film called Tomb Raider, there’s very little tomb raiding to be had. In fact, it feels like a hybrid of Kong: Skull Island,The Mummy, Indiana Jones and The Hunger Games and for this reason it lacks a sense of identity and any originality whatsoever.
Cinematography wise, Tomb Raider is competent but not exceptional. The shot choices are limited and the action is sometimes messily edited to the point where it’s difficult to tell exactly what it is that’s going on. It avoids unnecessary shaky cam, which is a miracle in itself but it’s not the best the genre has to offer.
Unfortunately, director Roar Uthaug’s idea to go the complete opposite of many blockbusters nowadays results in a film that really doesn’t have a sense of humour. Apart from a couple of scenes involving Nick Frost as a greedy pawnbroker, Tomb Raider is devoid of any sense of fun whatsoever. It seems the scriptwriters missed the memo about the premise being absolutely ridiculous – a dose of humour would have done this tale a world of good.
Overall, Tomb Raider is a decent stab at resurrecting a character that Angelina Jolie performed so well over the course of her two films in the early 00s. Alicia Vikander plays a very different Lara Croft to Jolie and whilst she may need a couple more films for us to get acquainted with her, she’s off to a reasonable if unoriginal start. Whether or not she gets the chance to tomb raid again remains to be seen, it all depends on those box-office numbers.
https://moviemetropolis.net/2018/03/16/tomb-raider-review-contains-little-tomb-raiding/
Heather Cranmer (2721 KP) rated Delirium in Books
Jun 7, 2018
Review from my blog <a href="http://themisadventuresofatwentysomething.blogspot.co.uk">The (Mis)Adventures of a Twenty-Something Year Old Girl</a>.
I really, really, really wanted to like this book. In fact, I wanted to love it, but it just didn't happen. I just couldn't get into it at all no matter how hard I tried. It's gotten some rave reviews so maybe there's just something wrong with me.
Lena is a seventeen year old girl who doesn't challenge anything about her government. She's too scared of the consequences. In a few months, on her 18th birthday, she'll be cured of the disease, the disease of love. She's looking forward to the day she can be cured of love. In fact, she's counting down the days. However, everything changes when she meets the gorgeous Alex, an invalid (another name for someone who is uncured after their 18th birthday). Now she doesn't want to be cured as Alex has opened her eyes to this disease called love. Lena is wondering if love was ever really a disease at all. Lena is putting herself at risk to be with Alex. Will she have her happy ever after or will she be cured?
The world building isn't bad. The story takes place in Portland. The author does a great job of trying to make the reader believe in a world where love is banned. It is quite believable.
I don't think the cover suits the book at all. Lauren Oliver has a habit of just putting faces on the covers of her books. However, I think this is the easy way out. Putting a photo of a face on a book doesn't really tell us anything about the book. I wish Ms. Oliver would consider changing her covers to make them relevant to the actual story.
The title, however, definitely suits the book. Love is seen as a type of delirium. It's banned, and the government wants everyone to believe how love will make you delirious. It's a great title for the book.
I found the pacing to be too slow for my liking. Don't get me wrong, it's written quite nicely, but it's just too slow. I had to force myself to read the book most of the time. I just couldn't get into it, and I found myself not really caring about the characters. There is one good bit, and it's only about two or three chapters towards the middle of the book.
The dialogue is easy to understand and is written beautifully. There are a few swear words however. (Lena drops the f-bomb a couple of times and the s word is used a couple of times as well). The good thing is this book isn't littered with swear words which is nice.
I just couldn't relate to any of the characters. Lena drove me crazy!! She was too much of a goody goody and too scared throughout the book. It especially annoyed me when she couldn't tell the difference if she was crying or sweating. I've never had a problem telling the difference!! And Alex, nothing really annoyed me about him, but I just couldn't feel him if you know what I mean. I basically found that I couldn't give a toss about what happened to Lena and Alex. I did like Hana as she was more of a free spirit and willing to take risks. I liked how full of life she was. She was the only character I kind of cared about, but she wasn't a main character, nor was she mentioned as much as I would've liked her to be.
Throughout most of the book I just felt really bored with the book which made me kind of sad because I really wanted to enjoy this book after reading some reviews about how great this book was. It was a challenge for me to get through the book, save for two or three chapters. This book just didn't really do anything for me, and I won't be reading the rest of the series as I don't really care what happens.
I wouldn't recommend this book to anyone. It's just too boring and is lacking something.
Overall, I'd rate Delirium by Lauren Oliver a 2.5 out of a 5.
I really, really, really wanted to like this book. In fact, I wanted to love it, but it just didn't happen. I just couldn't get into it at all no matter how hard I tried. It's gotten some rave reviews so maybe there's just something wrong with me.
Lena is a seventeen year old girl who doesn't challenge anything about her government. She's too scared of the consequences. In a few months, on her 18th birthday, she'll be cured of the disease, the disease of love. She's looking forward to the day she can be cured of love. In fact, she's counting down the days. However, everything changes when she meets the gorgeous Alex, an invalid (another name for someone who is uncured after their 18th birthday). Now she doesn't want to be cured as Alex has opened her eyes to this disease called love. Lena is wondering if love was ever really a disease at all. Lena is putting herself at risk to be with Alex. Will she have her happy ever after or will she be cured?
The world building isn't bad. The story takes place in Portland. The author does a great job of trying to make the reader believe in a world where love is banned. It is quite believable.
I don't think the cover suits the book at all. Lauren Oliver has a habit of just putting faces on the covers of her books. However, I think this is the easy way out. Putting a photo of a face on a book doesn't really tell us anything about the book. I wish Ms. Oliver would consider changing her covers to make them relevant to the actual story.
The title, however, definitely suits the book. Love is seen as a type of delirium. It's banned, and the government wants everyone to believe how love will make you delirious. It's a great title for the book.
I found the pacing to be too slow for my liking. Don't get me wrong, it's written quite nicely, but it's just too slow. I had to force myself to read the book most of the time. I just couldn't get into it, and I found myself not really caring about the characters. There is one good bit, and it's only about two or three chapters towards the middle of the book.
The dialogue is easy to understand and is written beautifully. There are a few swear words however. (Lena drops the f-bomb a couple of times and the s word is used a couple of times as well). The good thing is this book isn't littered with swear words which is nice.
I just couldn't relate to any of the characters. Lena drove me crazy!! She was too much of a goody goody and too scared throughout the book. It especially annoyed me when she couldn't tell the difference if she was crying or sweating. I've never had a problem telling the difference!! And Alex, nothing really annoyed me about him, but I just couldn't feel him if you know what I mean. I basically found that I couldn't give a toss about what happened to Lena and Alex. I did like Hana as she was more of a free spirit and willing to take risks. I liked how full of life she was. She was the only character I kind of cared about, but she wasn't a main character, nor was she mentioned as much as I would've liked her to be.
Throughout most of the book I just felt really bored with the book which made me kind of sad because I really wanted to enjoy this book after reading some reviews about how great this book was. It was a challenge for me to get through the book, save for two or three chapters. This book just didn't really do anything for me, and I won't be reading the rest of the series as I don't really care what happens.
I wouldn't recommend this book to anyone. It's just too boring and is lacking something.
Overall, I'd rate Delirium by Lauren Oliver a 2.5 out of a 5.
Hazel (1853 KP) rated God: A Human History in Books
Dec 7, 2018
<i>I received this book for free through Goodreads First Reads.
</i>
Where did religion come from? This is the question Reza Aslan, a scholar of religions, attempts to answer in his latest publication, <i>God: A Human History.</i> To date, Aslan has tackled subjects such as the life of Jesus of Nazareth, and the origins, evolution and future of Islam. In this book, the author journeys back to the earliest evidence of human existence and, using a mix of resources, theories and investigations, tries to determine how our ancestors conceived the idea of gods and souls. Maintaining the idea that the majority of humans think of God as a divine version of ourselves, Aslan also looks at the way our perception of life after death has altered due to the changes in our governments and cultures.
Reza Aslan claims that he, a Muslim-devout-Christian-convert-turned-Sufi, is neither trying to prove or disprove the existence of God or gods. Instead, he is providing readers with a thorough history of religion with a strong suggestion that we, as believers, have fashioned God in our image, and not the other way around.
Insisting that belief systems are inherited from each previous generation, Aslan takes a look at ancient cave drawings where he, and many other theorists, surmise that a form of religion was already well underway. Lack of written word results in a lot of speculation and hypothesis as to what these, usually animal-like, drawings represent, however, many have come to the conclusion that early humans had some form of animistic belief system.
Although not a dig at religion, after all, the author is religious himself, the following chapters bring in to question the authenticity of past and present beliefs. With reference to various psychologists, Aslan poses the theory that ancient humans may have misinterpreted dreams as evidence of a spirit realm. With no one qualified to clarify the things they did not understand, anything without a clear explanation may have been attributed to a god or gods.
As the author describes how religious ideas may have developed from these primitive beliefs to the fully detailed faiths of today, he labels the human race as anthropocentric creatures that have based their religions on human traits and emotions. By reporting in this way, it comes across that the past ideas of the soul, spiritual realms, gods and so forth could not possibly be true, yet, as the final chapters suggest, Aslan is still adamant about the existence of God.
Aslan’s narrative speeds up, finally reaching the recognizable religions of today. Beginning with the Israelites, enslaved by the Egyptians, the author explains, using biblical references, how the first successful monotheistic religion came about. However, researchers have studied the early Bible texts and are inconclusive as to whether the God worshipped by the Jews was the only divine being or whether there were others of a similar standing.
Next, Aslan explores Christianity, posing more questions than he solves, for example, is God one or is God three (i.e. the Holy Trinity)? He defines and compares the definitions of monotheism and pantheism, eventually bringing in Islam and the development of Sufism, which he is not afraid of admitting he agrees with.
<i>God: A Human History </i>is disappointingly short, ending with the feeble conclusion that humans are born with the ability to be convinced of the existence of a divine being and the soul, but it is our own choice to decide whether or not to believe in them. The remaining third of the book is an abundance of notes on the texts, bibliographical references, and Reza Aslan’s personal opinions about the ideas and theories mentioned in his history of religion.
Although an extensive history on the origins of religion, <i>God: A Human History </i>leaves readers none the wiser as to whether their belief is founded in truth or whether it is something that has evolved over time due to lack of understanding about the world. Granted, it was not the aim of the book to prove or disprove the existence of God, however, it may unintentionally sow seeds of doubt or, potentially, anger devout believers. However, there is no attempt at persuading readers to believe one thing or another, thus making it suitable for people of all religion and none.
</i>
Where did religion come from? This is the question Reza Aslan, a scholar of religions, attempts to answer in his latest publication, <i>God: A Human History.</i> To date, Aslan has tackled subjects such as the life of Jesus of Nazareth, and the origins, evolution and future of Islam. In this book, the author journeys back to the earliest evidence of human existence and, using a mix of resources, theories and investigations, tries to determine how our ancestors conceived the idea of gods and souls. Maintaining the idea that the majority of humans think of God as a divine version of ourselves, Aslan also looks at the way our perception of life after death has altered due to the changes in our governments and cultures.
Reza Aslan claims that he, a Muslim-devout-Christian-convert-turned-Sufi, is neither trying to prove or disprove the existence of God or gods. Instead, he is providing readers with a thorough history of religion with a strong suggestion that we, as believers, have fashioned God in our image, and not the other way around.
Insisting that belief systems are inherited from each previous generation, Aslan takes a look at ancient cave drawings where he, and many other theorists, surmise that a form of religion was already well underway. Lack of written word results in a lot of speculation and hypothesis as to what these, usually animal-like, drawings represent, however, many have come to the conclusion that early humans had some form of animistic belief system.
Although not a dig at religion, after all, the author is religious himself, the following chapters bring in to question the authenticity of past and present beliefs. With reference to various psychologists, Aslan poses the theory that ancient humans may have misinterpreted dreams as evidence of a spirit realm. With no one qualified to clarify the things they did not understand, anything without a clear explanation may have been attributed to a god or gods.
As the author describes how religious ideas may have developed from these primitive beliefs to the fully detailed faiths of today, he labels the human race as anthropocentric creatures that have based their religions on human traits and emotions. By reporting in this way, it comes across that the past ideas of the soul, spiritual realms, gods and so forth could not possibly be true, yet, as the final chapters suggest, Aslan is still adamant about the existence of God.
Aslan’s narrative speeds up, finally reaching the recognizable religions of today. Beginning with the Israelites, enslaved by the Egyptians, the author explains, using biblical references, how the first successful monotheistic religion came about. However, researchers have studied the early Bible texts and are inconclusive as to whether the God worshipped by the Jews was the only divine being or whether there were others of a similar standing.
Next, Aslan explores Christianity, posing more questions than he solves, for example, is God one or is God three (i.e. the Holy Trinity)? He defines and compares the definitions of monotheism and pantheism, eventually bringing in Islam and the development of Sufism, which he is not afraid of admitting he agrees with.
<i>God: A Human History </i>is disappointingly short, ending with the feeble conclusion that humans are born with the ability to be convinced of the existence of a divine being and the soul, but it is our own choice to decide whether or not to believe in them. The remaining third of the book is an abundance of notes on the texts, bibliographical references, and Reza Aslan’s personal opinions about the ideas and theories mentioned in his history of religion.
Although an extensive history on the origins of religion, <i>God: A Human History </i>leaves readers none the wiser as to whether their belief is founded in truth or whether it is something that has evolved over time due to lack of understanding about the world. Granted, it was not the aim of the book to prove or disprove the existence of God, however, it may unintentionally sow seeds of doubt or, potentially, anger devout believers. However, there is no attempt at persuading readers to believe one thing or another, thus making it suitable for people of all religion and none.
Darren (1599 KP) rated 5ive Girls (2006) in Movies
Jun 20, 2019
Contains spoilers, click to show
Story: 5ive Girls starts when one of the student of Father Drake’s (Perlman) school it taken by an evil force leaving only blood stained classroom. With the school closed down on the outside we still see Father Drake trying to help troubled girls with his newest class being Alex (Miller), Mara (Madley), Cecilia (Vnesa), Leah (Mamabolo) and Connie (Quintas).
The girls discover they are all witches with different powers and when Alex starts getting haunted by Elizabeth but what is she trying to communicate. We learn that Miss Pearce (Lalonde) is involved with what is going on but is she good or bad? Could these girls have been bought together for a reason? The girls find themselves battling the ancient demon Legion who wants to walk the Earth once more.
5ive Girls gives us a witch based film where the witches are not evil but instead fighting evil. Having the girls not fully understanding their powers works because we get to learn about them with them but saying that doing that really doesn’t help when they get picked off easily. I would like to see more about the girl’s powers but in the end we just have basic ideas of them. The story does work well for the fighting evil but also could just have been an episode of Buffy the Vampire Slayer.
Actor Review
Ron Perlman: Father Drake is haunted by losing one of his students to an evil spirit, he is bought back to the school to finally make up for what happened but finds himself fighting the same evil that took away his faith. Ron is good in this role even if he is more of a supporting character than leading man.
Jennifer Miller: Alex is the last of the five new girls to arrive at the school, she has the ability to prevent and move objects with her mind. While in the school she finds herself having to work with the other girls to solve the hauntings going on in the school. Jennifer is solid in this role that works as the unsure girl.
Jordan Madley: Mara is the streetwise of the five girls, she is overly aggressive when it comes to protecting herself but is great to have on the right side when it comes to fighting the evil. Jordan is good as the bad ass chick that is actually very insecure.
Terra Vnesa: Cecilia is one of the students, she is the blind student who makes light of her disability being one of the main comic reliefs in the film. Terra is good because she is the funniest of the characters involved.
Support Cast: 5ive Girls only has a couple of extra cast members that end up doing just as good a job of the rest of the cast.
Director Review: Warren P Sonoda – Warren gives us a solid film that is easy to watch but never really challenges us.
Horror: 5ive Girls has good horror elements of good versus evil along with solid gore moments.
Thriller: 5ive Girls keeps us guessing to what will happened next as well as wondering what is going on through the story even if you can work parts of the film out.
Settings: 5ive Girls keeps nearly all the film in one place the school that is meant to be locked from the outside.
Special Effects: 5ive Girls has solid effects for the kills but when we see Legion we don’t get the best effects.
Suggestion: 5ive Girls is one to watch if it is on late night television. (Late Night TV)
Best Part: Only having early witch abilities.
Worst Part: Slightly predictable.
Funniest Scene: Blind girl searching for someone alone while still enough people to do it in pairs.
Believability: No
Chances of Tears: No
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: No
Budget: $3 Million
Runtime: 1 Hour 35 Minutes
Tagline: 5 Witches. 5 Powers. One Evil.
Overall: Easy to watch horror that does lack scares but has strong elements.
https://moviesreview101.com/2016/10/05/movie-reviews-101-midnight-halloween-horror-5ive-girls-2006/
The girls discover they are all witches with different powers and when Alex starts getting haunted by Elizabeth but what is she trying to communicate. We learn that Miss Pearce (Lalonde) is involved with what is going on but is she good or bad? Could these girls have been bought together for a reason? The girls find themselves battling the ancient demon Legion who wants to walk the Earth once more.
5ive Girls gives us a witch based film where the witches are not evil but instead fighting evil. Having the girls not fully understanding their powers works because we get to learn about them with them but saying that doing that really doesn’t help when they get picked off easily. I would like to see more about the girl’s powers but in the end we just have basic ideas of them. The story does work well for the fighting evil but also could just have been an episode of Buffy the Vampire Slayer.
Actor Review
Ron Perlman: Father Drake is haunted by losing one of his students to an evil spirit, he is bought back to the school to finally make up for what happened but finds himself fighting the same evil that took away his faith. Ron is good in this role even if he is more of a supporting character than leading man.
Jennifer Miller: Alex is the last of the five new girls to arrive at the school, she has the ability to prevent and move objects with her mind. While in the school she finds herself having to work with the other girls to solve the hauntings going on in the school. Jennifer is solid in this role that works as the unsure girl.
Jordan Madley: Mara is the streetwise of the five girls, she is overly aggressive when it comes to protecting herself but is great to have on the right side when it comes to fighting the evil. Jordan is good as the bad ass chick that is actually very insecure.
Terra Vnesa: Cecilia is one of the students, she is the blind student who makes light of her disability being one of the main comic reliefs in the film. Terra is good because she is the funniest of the characters involved.
Support Cast: 5ive Girls only has a couple of extra cast members that end up doing just as good a job of the rest of the cast.
Director Review: Warren P Sonoda – Warren gives us a solid film that is easy to watch but never really challenges us.
Horror: 5ive Girls has good horror elements of good versus evil along with solid gore moments.
Thriller: 5ive Girls keeps us guessing to what will happened next as well as wondering what is going on through the story even if you can work parts of the film out.
Settings: 5ive Girls keeps nearly all the film in one place the school that is meant to be locked from the outside.
Special Effects: 5ive Girls has solid effects for the kills but when we see Legion we don’t get the best effects.
Suggestion: 5ive Girls is one to watch if it is on late night television. (Late Night TV)
Best Part: Only having early witch abilities.
Worst Part: Slightly predictable.
Funniest Scene: Blind girl searching for someone alone while still enough people to do it in pairs.
Believability: No
Chances of Tears: No
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: No
Budget: $3 Million
Runtime: 1 Hour 35 Minutes
Tagline: 5 Witches. 5 Powers. One Evil.
Overall: Easy to watch horror that does lack scares but has strong elements.
https://moviesreview101.com/2016/10/05/movie-reviews-101-midnight-halloween-horror-5ive-girls-2006/
Darren (1599 KP) rated All Cheerleaders Die (2014) in Movies
Jun 20, 2019
Story: All Cheerleaders Die starts with a look at head cheerleader Alexis (Cooper) who literally thinks she has the whole school under her finger but while performing she dies. The girls hold auditions for new role in the squad which Alexis old friend Maddy takes a chance with a deeper quest to get her own revenge on Terry.
Once a member of the cheer-leading team we see how she starts pushing them away from the football stars including the captain Terry (Williamson) who ends up causing the deaths of members of the team, but when Leena (Smit-McPhee) a witch brings them back to life, but now they have a craving for human flesh and target Terry for the ultimate revenge.cheerleader
All Cheerleaders Die starts off very slowly for my liking trying to introduce the characters and tease at a massive revenge angle before anything happens. Once the cheerleaders get killed the film steps up and unloads all the horror comedy. I would like to see less from the start and more from the end because that is the part of the film you want to watch. I think this is a real entertaining film that really does keep you guessing just what will happen next.
Actor Review
Caitlin Stasey: Maddy is the newest addition to the cheer-leading squad who has been against the team captain of the football team for years. When she is killed she comes back with the rest of the team to get revenge on the football team. Caitlin does a good job in the leading role taking a more risky role that goes against most horror clichés.
Tom Williamson: Terry is the captain of the football team and an all around asshole, when he gets into a fight with his girlfriend he runs the cheerleaders off the road killing them all. When they return he ends up becoming the target of their vengeance. Tom creates the asshole persona really well in this film that could make this the most entertaining part when he gets what he deserves.terry
Sianoa Smit-McPhee: Leena is the witch who likes to work with dark magic but when she sees her friends die she brings them all back to life where she doesn’t understand the power she holds. Sianoa does a good job in this role being a completely different image to the rest of the cast.lenna
Brooke Butler: Tracy is the lead cheerleader who lets Maddy into the team, she is dating Terry but she is very insecure. She ends up thinking everyone is her friend but they turn on her quickly. Brooke does a good job in an early role for the young actress with a brave performance.
Support Cast: All Cheerleaders Die has a supporting cast that all play their part be it the football players or the dead cheerleaders who become disposable characters for the main ones to learn their powers.
Director Review: Lucky McKee, Chris Sivertson – The pair bring us a horror comedy that is fun once it all gets going.
Comedy: All Cheerleaders Die has solid comedy throughout which is mostly to do with the reactions of the cheerleaders to what is happening to them.
Horror: All Cheerleaders Die has plenty of blood splatter for all the kills for what the cheerleaders get up to on their revenge path.
Settings: All Cheerleaders Die using the settings all around the high school with the hang outs being away from public viewing which all work for the film.
Special Effects: All Cheerleaders Die has solid special effects with the problems being all too CGI for my liking.
Suggestion: All Cheerleaders Die is one I think the horror fans will enjoy because of the fun gore filled storyline. (Horror Fans Watch)
Best Part: Final battle against Terry.
Worst Part: Slow starting.
Believability: No
Chances of Tears: No
Chances of Sequel: Left open for one.
Post Credits Scene: No
Oscar Chances: No
Runtime: 1 Hour 29 Minutes
Tagline: You can’t kill their spirit
Overall: Horror comedy that has laughs and blood for all the fans to enjoy
https://moviesreview101.com/2016/01/01/movie-reviews-101-midnight-horror-all-cheerleaders-die-2013/
Once a member of the cheer-leading team we see how she starts pushing them away from the football stars including the captain Terry (Williamson) who ends up causing the deaths of members of the team, but when Leena (Smit-McPhee) a witch brings them back to life, but now they have a craving for human flesh and target Terry for the ultimate revenge.cheerleader
All Cheerleaders Die starts off very slowly for my liking trying to introduce the characters and tease at a massive revenge angle before anything happens. Once the cheerleaders get killed the film steps up and unloads all the horror comedy. I would like to see less from the start and more from the end because that is the part of the film you want to watch. I think this is a real entertaining film that really does keep you guessing just what will happen next.
Actor Review
Caitlin Stasey: Maddy is the newest addition to the cheer-leading squad who has been against the team captain of the football team for years. When she is killed she comes back with the rest of the team to get revenge on the football team. Caitlin does a good job in the leading role taking a more risky role that goes against most horror clichés.
Tom Williamson: Terry is the captain of the football team and an all around asshole, when he gets into a fight with his girlfriend he runs the cheerleaders off the road killing them all. When they return he ends up becoming the target of their vengeance. Tom creates the asshole persona really well in this film that could make this the most entertaining part when he gets what he deserves.terry
Sianoa Smit-McPhee: Leena is the witch who likes to work with dark magic but when she sees her friends die she brings them all back to life where she doesn’t understand the power she holds. Sianoa does a good job in this role being a completely different image to the rest of the cast.lenna
Brooke Butler: Tracy is the lead cheerleader who lets Maddy into the team, she is dating Terry but she is very insecure. She ends up thinking everyone is her friend but they turn on her quickly. Brooke does a good job in an early role for the young actress with a brave performance.
Support Cast: All Cheerleaders Die has a supporting cast that all play their part be it the football players or the dead cheerleaders who become disposable characters for the main ones to learn their powers.
Director Review: Lucky McKee, Chris Sivertson – The pair bring us a horror comedy that is fun once it all gets going.
Comedy: All Cheerleaders Die has solid comedy throughout which is mostly to do with the reactions of the cheerleaders to what is happening to them.
Horror: All Cheerleaders Die has plenty of blood splatter for all the kills for what the cheerleaders get up to on their revenge path.
Settings: All Cheerleaders Die using the settings all around the high school with the hang outs being away from public viewing which all work for the film.
Special Effects: All Cheerleaders Die has solid special effects with the problems being all too CGI for my liking.
Suggestion: All Cheerleaders Die is one I think the horror fans will enjoy because of the fun gore filled storyline. (Horror Fans Watch)
Best Part: Final battle against Terry.
Worst Part: Slow starting.
Believability: No
Chances of Tears: No
Chances of Sequel: Left open for one.
Post Credits Scene: No
Oscar Chances: No
Runtime: 1 Hour 29 Minutes
Tagline: You can’t kill their spirit
Overall: Horror comedy that has laughs and blood for all the fans to enjoy
https://moviesreview101.com/2016/01/01/movie-reviews-101-midnight-horror-all-cheerleaders-die-2013/