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Gareth von Kallenbach (968 KP) rated Bewitched (2005) in Movies
Aug 14, 2019
Turning a classic television series into a feature film can be a risky proposition. While the built in audience of Baby Boomers and new fans of a show gained through reruns make remakes a potentially lucrative venture, the task of recasting classic characters and modernizing the story to today’s audiences is rife with hazards.
For example, for every remake that succeeds, such as The Adams Family, Starsky and Hutch, and The Brady Bunch, there are countless others that fail, like The Wild Wild West, Car 54 Where Are You and I-Spy.
Sadly the new film version of Bewitched falls into the latter category. It is so bad it begs the question as to why such talents like Nicole Kidman, Michael Caine, and Will Ferrell signed on.
The story centers on Isabel Bigelow (Nicole Kidman), a young woman who is anxious to set off on her own and leave the family structure behind her. While this is not so uncommon for most people, Isabel is a witch and her decision to live as a mortal without her powers is of great consternation to her father (Michael Caine).
Isabel is convinced she can find a man, and can live in happiness and love with a mortal. She wants no part of the shallow and wandering eye that makes up their lifestyle. Convinced his daughter will never be able to live without her powers, her father chides her for her frequent and casual use of powers to do everything from find and furnish her home to paying for everyday needs.
At roughly the same time, fading actor Jack Wyatt is about to sign up to play the male lead in a new television version of the classic Bewitched television series. With the gigantic failure of his recent film, Jack is in need of a hit. Not wanting to take any attention away from his star turn, Jack insists that the producers cast a complete unknown in the role of Samantha. He does not want anyone infringing upon his spotlight.
A chance encounter with Isabel leads to her being cast by Jack in the new series. Isabel is taken by Jack and when she learns the role is that of a witch, she signs aboard despite some reservations.
Naturally Jack and Isabel will hit it off, and yes there will be issues, particularly when Jack’s shallow nature becomes clear to Isabel, and this is to say nothing of Isabel’s true identity which in and of itself is an issue.
What starts as a good premise with a solid cast quickly dissolves into a disjointed mess thanks to a paper thin plot that is rife with plot holes, non-sequitors, and unresolved moments. One such example is the character of Iris Smythson (Shirley Mac Laine), who plays Endora on the show. It is at first hinted at that she too is a witch and then made obvious. However there is no conclusion to this revelation. We see that she has a power and uses it, but we never really get the why she is there, how she chose to live as she does, and how her relationship with Isabel’s father is going to be altered by this.
Another problem the show has is that Ferell is reduced to running around, over-acting to get laughs. The situations go on way to long, and things that are at first amusing, become tedious after a while. One such scene has Ferell’s character appearing nude on a live television appearance. It is something that is used to generate laughs but there is no setup to the scene and it plays out as a desperate attempt to get laughs.
The only thing that works is the charm of Kidman who, as the quirky Isabel, is delightful, as is the supporting work of Caine and Steve Carell as Uncle Arthur. Sadly they are the only good things in a film that became so bad that many in the audience at my press screener were voicing their disdain when we left the film. Perhaps Samantha can twitch her nose and make this one vanish, as there is precious little to redeem it.
For example, for every remake that succeeds, such as The Adams Family, Starsky and Hutch, and The Brady Bunch, there are countless others that fail, like The Wild Wild West, Car 54 Where Are You and I-Spy.
Sadly the new film version of Bewitched falls into the latter category. It is so bad it begs the question as to why such talents like Nicole Kidman, Michael Caine, and Will Ferrell signed on.
The story centers on Isabel Bigelow (Nicole Kidman), a young woman who is anxious to set off on her own and leave the family structure behind her. While this is not so uncommon for most people, Isabel is a witch and her decision to live as a mortal without her powers is of great consternation to her father (Michael Caine).
Isabel is convinced she can find a man, and can live in happiness and love with a mortal. She wants no part of the shallow and wandering eye that makes up their lifestyle. Convinced his daughter will never be able to live without her powers, her father chides her for her frequent and casual use of powers to do everything from find and furnish her home to paying for everyday needs.
At roughly the same time, fading actor Jack Wyatt is about to sign up to play the male lead in a new television version of the classic Bewitched television series. With the gigantic failure of his recent film, Jack is in need of a hit. Not wanting to take any attention away from his star turn, Jack insists that the producers cast a complete unknown in the role of Samantha. He does not want anyone infringing upon his spotlight.
A chance encounter with Isabel leads to her being cast by Jack in the new series. Isabel is taken by Jack and when she learns the role is that of a witch, she signs aboard despite some reservations.
Naturally Jack and Isabel will hit it off, and yes there will be issues, particularly when Jack’s shallow nature becomes clear to Isabel, and this is to say nothing of Isabel’s true identity which in and of itself is an issue.
What starts as a good premise with a solid cast quickly dissolves into a disjointed mess thanks to a paper thin plot that is rife with plot holes, non-sequitors, and unresolved moments. One such example is the character of Iris Smythson (Shirley Mac Laine), who plays Endora on the show. It is at first hinted at that she too is a witch and then made obvious. However there is no conclusion to this revelation. We see that she has a power and uses it, but we never really get the why she is there, how she chose to live as she does, and how her relationship with Isabel’s father is going to be altered by this.
Another problem the show has is that Ferell is reduced to running around, over-acting to get laughs. The situations go on way to long, and things that are at first amusing, become tedious after a while. One such scene has Ferell’s character appearing nude on a live television appearance. It is something that is used to generate laughs but there is no setup to the scene and it plays out as a desperate attempt to get laughs.
The only thing that works is the charm of Kidman who, as the quirky Isabel, is delightful, as is the supporting work of Caine and Steve Carell as Uncle Arthur. Sadly they are the only good things in a film that became so bad that many in the audience at my press screener were voicing their disdain when we left the film. Perhaps Samantha can twitch her nose and make this one vanish, as there is precious little to redeem it.
Darren (1599 KP) rated Shallow Hal (2001) in Movies
Nov 28, 2019
Verdict: Sweet Little Comedy
Story: Shallow Hal starts as we meet Hal (Black) who was given advice from his father to never settle always shot for the stars when trying to meet women. Now in adult life he is a nice guy but he only targets models, always striking out, even if his friends try to convince him to learn about the women first.
After getting trapped in an elevator with Anthony Robbins a television hypnotist, he pulls a trick on him to see women for their inner beauty, which sees him meeting Rosemary (Paltrow) seeing her as a beautiful women, when she is really a bigger women, somebody Hal would never give a second glance to, Hal’s best friend Mauricio (Alexander) is getting worried his friend has changed.
Thoughts on Shallow Hal
Characters – Hal saw his father die young giving him one piece of advice, never settle when it comes to the ladies. Keeping that in his mind he has only ever tried to date models, without much success. He gets hypnotised into seeing the inner beauty only which to meet Rosemary a bigger woman he only sees as a beautiful woman, which sees him learn the lesson in life that people are not just what the outside shows. Rosemary is the woman Hal sees as a beautiful model, but she is a bigger girl with a heart of gold, which under the spell that Hal is under he doesn’t see, she is reluctant to let Hal into her life, but eventually believes him to be good. Mauricio is the shallow best friend of Hal’s, they have both only tried to date the beautiful women, he sees something wrong with his friend and tries to fix it. Steve Shanahan is Rosemary’s father and Hal’s boss who sees the positives in Hal, but will protect his daughter at any cost.
Performances – Jack Black in the lead of a comedy like this works wonders, he can play both sides with ease being the charmer that isn’t afraid whether he strikes out or not. Gwyneth Paltrow is great too showing she can handle comedy without needing to be the one running with the jokes. Jason Alexander provides fun supporting role that shows his skills in comedy.
Story – The story here follows a man Hal that believes he can only date models after being raised to never settle for less, when he gets hypnotised he learns to admire the inner beauty in women never seeing any of their outside flaws like the rest of the world, we are left to see if he can learn to just ignore everything once the spell wears off. This is an interesting look at romance, it shows us just how important trying to find love can be and getting to know a person is more important than anything else. This aside we do seem to have one flaw in the story and that is only some of the people change, while others remain completely the same, which does seem strange and it also only seems to show people that volunteer being less attractive, while the career driven women more than men are seen to be ugly inside. That aside we are focusing more on the struggles that Hal’s friend is facing with his change, more than Hal needing to learn about his changes.
Comedy/Romance – The comedy largely comes from Jack Black, while some of the lines seem awkward when we know the difference between the two Rosemary’s he delivers his comedy in such a confident way it shines through, with the romance being about how falling in love can happen with the person you least expect at times.
Settings – The film is set in the big city and shows how people can be ignored at times, while other times they could be right there in your life.
Scene of the Movie – Leaving Party.
That Moment That Annoyed Me – We do seem to imply that women who volunteer are beautiful on the inside, not career women.
Final Thoughts – This is a comedy that hits most of its marks, it plays into Jack Black’s strengths proving that giving him the right material he can improve any movie.
Overall: Funny for the Most Part.
After getting trapped in an elevator with Anthony Robbins a television hypnotist, he pulls a trick on him to see women for their inner beauty, which sees him meeting Rosemary (Paltrow) seeing her as a beautiful women, when she is really a bigger women, somebody Hal would never give a second glance to, Hal’s best friend Mauricio (Alexander) is getting worried his friend has changed.
Thoughts on Shallow Hal
Characters – Hal saw his father die young giving him one piece of advice, never settle when it comes to the ladies. Keeping that in his mind he has only ever tried to date models, without much success. He gets hypnotised into seeing the inner beauty only which to meet Rosemary a bigger woman he only sees as a beautiful woman, which sees him learn the lesson in life that people are not just what the outside shows. Rosemary is the woman Hal sees as a beautiful model, but she is a bigger girl with a heart of gold, which under the spell that Hal is under he doesn’t see, she is reluctant to let Hal into her life, but eventually believes him to be good. Mauricio is the shallow best friend of Hal’s, they have both only tried to date the beautiful women, he sees something wrong with his friend and tries to fix it. Steve Shanahan is Rosemary’s father and Hal’s boss who sees the positives in Hal, but will protect his daughter at any cost.
Performances – Jack Black in the lead of a comedy like this works wonders, he can play both sides with ease being the charmer that isn’t afraid whether he strikes out or not. Gwyneth Paltrow is great too showing she can handle comedy without needing to be the one running with the jokes. Jason Alexander provides fun supporting role that shows his skills in comedy.
Story – The story here follows a man Hal that believes he can only date models after being raised to never settle for less, when he gets hypnotised he learns to admire the inner beauty in women never seeing any of their outside flaws like the rest of the world, we are left to see if he can learn to just ignore everything once the spell wears off. This is an interesting look at romance, it shows us just how important trying to find love can be and getting to know a person is more important than anything else. This aside we do seem to have one flaw in the story and that is only some of the people change, while others remain completely the same, which does seem strange and it also only seems to show people that volunteer being less attractive, while the career driven women more than men are seen to be ugly inside. That aside we are focusing more on the struggles that Hal’s friend is facing with his change, more than Hal needing to learn about his changes.
Comedy/Romance – The comedy largely comes from Jack Black, while some of the lines seem awkward when we know the difference between the two Rosemary’s he delivers his comedy in such a confident way it shines through, with the romance being about how falling in love can happen with the person you least expect at times.
Settings – The film is set in the big city and shows how people can be ignored at times, while other times they could be right there in your life.
Scene of the Movie – Leaving Party.
That Moment That Annoyed Me – We do seem to imply that women who volunteer are beautiful on the inside, not career women.
Final Thoughts – This is a comedy that hits most of its marks, it plays into Jack Black’s strengths proving that giving him the right material he can improve any movie.
Overall: Funny for the Most Part.
Lee (2222 KP) rated Greed (2019) in Movies
Jan 29, 2020
On the Greek island of Mykonos, preparations are well underway for the lavish Gladiator themed 60th birthday party of multi-millionaire and 'king of the high-street', Sir Richard 'Greedy' McCreadie (Steve Coogan). A journalist turned biographer (David Mitchell) is on hand to document McCreadie's life story and some of his interviews with various acquaintances and family members combine with present day events to form a mockumentary style movie which gives us a closer look at how he went from ruthless young schoolboy to ruthless self-made millionaire.
It's 5 days until the party. Construction on a huge wooden Colosseum is progressing slowly, and a nearby caged lion is to be involved in a series of gladiator themed games for the event. Although, as McCreadies moody teenage son (Asa Butterworth) snarkily points out, it was actually tigers that featured in the movie Gladiator and not lions. Discussions are also taking place as to where the firework display will be and where Fatboy Slim and Coldplay will be performing, overseen by McCreadie himself, all fake tan and bright white teeth. His first wife (Isla Fisher) arrives with her new partner and everyone is under pressure to be ready in time.
We're taken right back to the beginning and Richards public school years. A rather unpleasant young Richard (Jamie Blackley) is back-chatting his teachers and playing cards with the other students for money. When his mother (Shirley Henderson) is called into the school, there is a heated exchange in the headmasters office and Richard ends up leaving the school. We then follow him out into the big wide world, wheeling and dealing in the fashion business, confident and persistent until he has managed to land himself a small shop and enough stock to start undercutting some of his nearby rivals. It's not long until Richard is heading out to Sri Lanka, meeting up with sweatshop managers in order to play them off against each other for the lowest possible price in order to secure himself a huge profit. As Richard grows up into the version played by Coogan, there continues to be a steady stream of different clothing shops, big ideas, dodgy deals and plenty of mishaps for him to tackle in what are some of the films funnier scenes.
Greed takes a real scatter-gun approach to plots and scenes, which for the most part don't really work. There is a completely pointless and dull subplot involving a reality TV show that's being filmed on and around the beach, with another concerning a group of Syrian refugees who have the cheek to be camped out on the beach where the party is due to take place. We zip back and forth in time, occasionally dipping into a hearing regarding Sir Richard's tax avoidance antics over the years and there's never really enough time, or enough of a decent script, to make any of it very interesting or funny. The character of McCreadie, who is clearly loosely based on Topshop CEO Philip Green, is basically just a variation of Alan Partridge, slightly different voice, some extra swearing and anger thrown in, only less funny. The movie even features Tim "Sidekick Simon" Key from the Partridge shows as an exasperated employee, trying to keep the building of the Colosseum on track with a diminishing workforce. There are plenty of celebrity cameos shoehorned in too and the whole thing is just very hit and miss. But mostly miss.
Greed concludes by showing us some pretty sobering facts and figures. We're informed that the 26 richest men in the world hold more wealth than that of the 3.6 billion poorest combined. We learn just how little the women in countries such as Sri Lanka and Bangladesh earn in return for their long days putting together high street clothes, while the biggest names in retail turnover millions in profits each year. And we hear about the plight of the Syrian refugees trying to make their way to Greece. The greed and injustice of it all really hits home, and it does so far more effectively here than during the the rest of the movie.
It's 5 days until the party. Construction on a huge wooden Colosseum is progressing slowly, and a nearby caged lion is to be involved in a series of gladiator themed games for the event. Although, as McCreadies moody teenage son (Asa Butterworth) snarkily points out, it was actually tigers that featured in the movie Gladiator and not lions. Discussions are also taking place as to where the firework display will be and where Fatboy Slim and Coldplay will be performing, overseen by McCreadie himself, all fake tan and bright white teeth. His first wife (Isla Fisher) arrives with her new partner and everyone is under pressure to be ready in time.
We're taken right back to the beginning and Richards public school years. A rather unpleasant young Richard (Jamie Blackley) is back-chatting his teachers and playing cards with the other students for money. When his mother (Shirley Henderson) is called into the school, there is a heated exchange in the headmasters office and Richard ends up leaving the school. We then follow him out into the big wide world, wheeling and dealing in the fashion business, confident and persistent until he has managed to land himself a small shop and enough stock to start undercutting some of his nearby rivals. It's not long until Richard is heading out to Sri Lanka, meeting up with sweatshop managers in order to play them off against each other for the lowest possible price in order to secure himself a huge profit. As Richard grows up into the version played by Coogan, there continues to be a steady stream of different clothing shops, big ideas, dodgy deals and plenty of mishaps for him to tackle in what are some of the films funnier scenes.
Greed takes a real scatter-gun approach to plots and scenes, which for the most part don't really work. There is a completely pointless and dull subplot involving a reality TV show that's being filmed on and around the beach, with another concerning a group of Syrian refugees who have the cheek to be camped out on the beach where the party is due to take place. We zip back and forth in time, occasionally dipping into a hearing regarding Sir Richard's tax avoidance antics over the years and there's never really enough time, or enough of a decent script, to make any of it very interesting or funny. The character of McCreadie, who is clearly loosely based on Topshop CEO Philip Green, is basically just a variation of Alan Partridge, slightly different voice, some extra swearing and anger thrown in, only less funny. The movie even features Tim "Sidekick Simon" Key from the Partridge shows as an exasperated employee, trying to keep the building of the Colosseum on track with a diminishing workforce. There are plenty of celebrity cameos shoehorned in too and the whole thing is just very hit and miss. But mostly miss.
Greed concludes by showing us some pretty sobering facts and figures. We're informed that the 26 richest men in the world hold more wealth than that of the 3.6 billion poorest combined. We learn just how little the women in countries such as Sri Lanka and Bangladesh earn in return for their long days putting together high street clothes, while the biggest names in retail turnover millions in profits each year. And we hear about the plight of the Syrian refugees trying to make their way to Greece. The greed and injustice of it all really hits home, and it does so far more effectively here than during the the rest of the movie.
Zuky the BookBum (15 KP) rated Nightmares: A New Decade of Modern Horror in Books
Mar 15, 2018
Also read my review here: http://bookbum.weebly.com/book-reviews/nightmares-a-new-decade-of-modern-horror-by-various-authors
NOW AVAILABLE IN THE UK!
I decided that instead of rating this book overall, it would be better to rate each individual story, so that’s what I’ve done. Obviously I had to rate the overall book so I actually calculated the average of all the ratings lol.
<b><u>Shallaballah</b></u> by Mark Samuels
<i>1 star</i>
Not a good start to the book for me. I was over the stitched up face appearance, creepy hospital, shady operations kind of horror story long ago, so this did pretty much nothing for me. Yes there were creepy elements to it but not enough. I also get what it was trying to do with the whole vanity, television thing, but it didn’t really work and so for me, added nothing to the overall plot.
<b><u>Sob in the Silence</b></u> by Gene Wolfe
<i>3 stars</i>
This was a pretty good creepy story, I much prefer stories that don't really have any paranormal elements to them and are more about the madness of the human brain. This short story had a bit of both to it so it was much preferable to the last! Didn't like the weird abrupt ending though, it felt like the story had been cut short.
<b><u>Our Turn Too Will One Day Come</b></u> by Brian Hodge
<i>4 stars</i>
This definitely had my skin crawling a bit. I love this kind of horror story that incorporates creatures and family secrets, kind of gave me The Village vibes… Is that the name of that film? Anyway, yes, great short!
<b><u>Dead Sea Fruit</b></u> by Kaaron Warren
<i>3 stars</i>
This short was pretty good, the Ash Mouth Man was pretty freaky but the writing was a bit all over the place and I felt too much was squeezed into such a small story. I'd love to read a full length story about this Ash Man, that would definitely be disturbing to read!
<b><u>Closet Dreams</b></u> by Lisa Tuttle
<i>4 stars</i>
Really well written and completely terrifying! I hate abduction stories so much because it could happen to anyone. It's not like the demonic ghost stories that you choose to believe or not believe, men who rape and steal little girls are <b>real.</b> The ending was… Predictable… Done before… Boring… But the rest of it was good enough to warrant it 4 stars!
<b><u>Spectral Evidence</b></u> by Gemma Files
<i>1 star</i>
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I didn’t like the way this was set out, very frustrating to read on a Kindle! Also, I didn’t really get it, it was so all over the place I forgot what was happening previously.
<b><u>Hushabye</b></u> by Simon Bestwick
<i>2 stars.</i>
I wanted to like this one but there was too much missing from the story, maybe it was meant to be mysterious but in my eyes it just felt unfinished. Like what was the man sucking out of the children? And what really happened to Hardiman? Also I thought the narrator was a woman until we finally learnt his name was Paul, don’t know why, I just imagined him that way.
<b><u>Very Low-Flying Aircraft</b></u> by Nicholas Royle
<i>3 stars</i>
I’m not really a big fan of war based novels / stories so from the get go I knew I wasn’t going to get on that well with this story but it wasn’t so bad. I didn’t feel like this story explained itself enough or maybe it did and I just didn’t get it? Like why did it matter that Frankie looked like Victoria and why did Flynn go to the clinic? Also, I didn’t think it of a horror story really, though it was scary and horrible, it didn’t give me the heeby-jeebys like some of the others have done.
<b><u>The Goosle</b></u> by Margo Lanagan
<i>2 stars</i>
Seriously, seriously grotesque. If you have a weak stomach, <i>avoid this.</i> A very peculiar branch off the traditional Hansel and Gretel story we all know. This isn’t my kind of horror at all. I much prefer scary, mysterious human crime and occasionally a paranormal story. Torture porn is not at all my thing. This was very well written though, so props to Lanagan for that.
<b><u>The Clay Party</b></u> by Steve Duffy
<i>4 stars</i>
Again, not exactly what I’d classify as a horror story, but a great read nonetheless. Excellently written and enjoyable the whole way through, up until the end… the ending definitely wasn’t my kind of style so that was disappointing for me personally, but I’m sure others would love it!
<b><u>Strappado</b></u> by Laird Barron
<i>3 stars</i>
Definitely one of the strangest of the shorts in this novel. I thought it was excellently written but I didn’t quite get it? Maybe I was just having an off day when I read this but it didn’t really do anything for me.
<b><u>Lonegan’s Luck</b></u> by Stephen Graham Jones
<i>4 stars</i>
This is one of those stories I don’t know why I like. I never used to be into these kinds of rural town, religious apocalyptic kind of books, but ever since reading Mammoth, I’ve begun to enjoy reading them. Admittedly this had me a little confused to begin with, there were what felt like a lot of characters, but in the end none of the mattered anyway, they were just there to set the scene.
<b><u>Mr Pigsny</b></u> by Reggie Oliver
<i>3 stars</i>
I feel like I’ve read this book a million times. It’s one of those stories that's been redone time and time again with just slight changes here and there. It isn’t a bad plot per say, I certainly enjoyed it, it just had nothing unique about it.
<b><u>At Night, When the Demons Come by</b></u> by Ray Cluley
<i>4 stars</i>
One of the longer stories in this book but also one of the best. It had a pleasing twist to it and some interesting characters. I guess I quite like the whole apocalyptic feel when it comes to stories. I personally don’t feel this one was a horror story, more like a fantasy thriller.
<b><u>Was She Wicked? Was She Good?</b></u> by Mary Rickert
<i>4 stars</i>
This was a sad horror story, but in a way, it was also quite beautiful. I really liked the plot, it was something quite different to all the others in this collection and I thought the way it was written flowed well. Enjoyable short story!
<b><u>The Shallows</b></u> by John Langan
<i>2 stars</i>
I liked how this was written but I didn’t get it? I got bored halfway through it too, it was a half an hour read and I just couldn’t understand it so I skimmed the last 10 minutes or so. Yawn.
<b><u>Little Pig</b></u> by Anna Taborska
<i>3 stars</i>
Meh. This was well written and very different to the rest of the stories in this collection but was it a horror story? No. It was tragic, but not scary. Disappointing because whenever I see the word “pig” in relation to something “scary” I think of AHS.
<b><u>Omphalos</b></u> by Livia Llewellyn
<i>3 stars</i>
<b>TRIGGER WARNING: SEXUAL ABUSE</b>
This story was definitely very unique to the rest of the stories in this collection in the terms that this was a horror story that focused more on the real life horrors of families rather than made up monsters and ghouls. This story isn’t for the faint-hearted, it was horrific and gruesome and very upsetting. It wasn’t the best story in the collection when it came to plot or writing style, but it did bring out strong emotions in me, which other stories have been unable to do.
<b><u>How We Escaped Our Certain Fate</b></u> by Dan Chaon
<i>5 stars</i>
I liked how this was a different take on a classic zombie story - <b><i>”It wasn’t the end of the world… of course, a bite would infect you, but they weren’t terribly aggressive, in general.”</b></i> This was by far my favourite story in the entire book, it was so sad and emotional. It was beautiful.
<b><u>That Tiny Flutter of the Heart I Used to Call Love</b></u> by Robert Shearman
<i>4 stars</i>
Creepy, creepy, creepy. Dolls terrify me thanks to modern horror, although, really, I’ve always felt unsettled by them. Enjoyable story though. Poor Julian.
(This story almost had my name in it! “Suki” is close enough to Zuky.)
<b><u>Interstate Love Song (Murder Ballad No.8)</b></u> by Caitlin R. Kiernan
<i>3 stars</i>
Hmm, why did the shorts at the end of this book get all meaningful and loved up? I think that kinda ruined this for me. Granted it was disturbed and pretty grotesque at times but sadness of the ending ruined that creepy effect of the book and just left this kind of hanging in the space between horror and tragedy.
<b><u>Shay Corsham Worsted</b></u> by Garth Nix
<i>4 stars</i>
This was an interesting story and I liked our harsh but caring main character, Sir David. I wish this story was a little longer so we could find out more about Shay because I feel the missing backstory left this plot wide open. Enjoyable nonetheless.
<b><u>The Atlas of Hell</b></u> by Nathan Ballingrud
<i>3 stars</i>
I really enjoyed this to begin with though I thought it had a little David Wong influence, a writing style I’m not into. All was going well for this story until I got towards the end of it, where it completely lost me. Whether this is down to the annoying man sat on the train next to me, speaking into his phone at 32596 decibels, or just because the plot went AWOL, we’ll never know.
<b><u>Ambitious Boys Like You</b></u> by Richard Kadrey
<i>4 stars</i>
I like these kinds of creepy stories! They’re not particularly unique anymore, because they’ve been done so many different times in so many different, but similar ways, but they’re still fun to read. The old man was especially disturbing just because he was so witty and chilled out. I liked that this story had elements of humour to it, it made a nice change to the more recent emotion filled stories.
I’d like to thank Netgalley and Tachyon Publications for giving me the opportunity to read this in an exchange for an honest review.
NOW AVAILABLE IN THE UK!
I decided that instead of rating this book overall, it would be better to rate each individual story, so that’s what I’ve done. Obviously I had to rate the overall book so I actually calculated the average of all the ratings lol.
<b><u>Shallaballah</b></u> by Mark Samuels
<i>1 star</i>
Not a good start to the book for me. I was over the stitched up face appearance, creepy hospital, shady operations kind of horror story long ago, so this did pretty much nothing for me. Yes there were creepy elements to it but not enough. I also get what it was trying to do with the whole vanity, television thing, but it didn’t really work and so for me, added nothing to the overall plot.
<b><u>Sob in the Silence</b></u> by Gene Wolfe
<i>3 stars</i>
This was a pretty good creepy story, I much prefer stories that don't really have any paranormal elements to them and are more about the madness of the human brain. This short story had a bit of both to it so it was much preferable to the last! Didn't like the weird abrupt ending though, it felt like the story had been cut short.
<b><u>Our Turn Too Will One Day Come</b></u> by Brian Hodge
<i>4 stars</i>
This definitely had my skin crawling a bit. I love this kind of horror story that incorporates creatures and family secrets, kind of gave me The Village vibes… Is that the name of that film? Anyway, yes, great short!
<b><u>Dead Sea Fruit</b></u> by Kaaron Warren
<i>3 stars</i>
This short was pretty good, the Ash Mouth Man was pretty freaky but the writing was a bit all over the place and I felt too much was squeezed into such a small story. I'd love to read a full length story about this Ash Man, that would definitely be disturbing to read!
<b><u>Closet Dreams</b></u> by Lisa Tuttle
<i>4 stars</i>
Really well written and completely terrifying! I hate abduction stories so much because it could happen to anyone. It's not like the demonic ghost stories that you choose to believe or not believe, men who rape and steal little girls are <b>real.</b> The ending was… Predictable… Done before… Boring… But the rest of it was good enough to warrant it 4 stars!
<b><u>Spectral Evidence</b></u> by Gemma Files
<i>1 star</i>
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I didn’t like the way this was set out, very frustrating to read on a Kindle! Also, I didn’t really get it, it was so all over the place I forgot what was happening previously.
<b><u>Hushabye</b></u> by Simon Bestwick
<i>2 stars.</i>
I wanted to like this one but there was too much missing from the story, maybe it was meant to be mysterious but in my eyes it just felt unfinished. Like what was the man sucking out of the children? And what really happened to Hardiman? Also I thought the narrator was a woman until we finally learnt his name was Paul, don’t know why, I just imagined him that way.
<b><u>Very Low-Flying Aircraft</b></u> by Nicholas Royle
<i>3 stars</i>
I’m not really a big fan of war based novels / stories so from the get go I knew I wasn’t going to get on that well with this story but it wasn’t so bad. I didn’t feel like this story explained itself enough or maybe it did and I just didn’t get it? Like why did it matter that Frankie looked like Victoria and why did Flynn go to the clinic? Also, I didn’t think it of a horror story really, though it was scary and horrible, it didn’t give me the heeby-jeebys like some of the others have done.
<b><u>The Goosle</b></u> by Margo Lanagan
<i>2 stars</i>
Seriously, seriously grotesque. If you have a weak stomach, <i>avoid this.</i> A very peculiar branch off the traditional Hansel and Gretel story we all know. This isn’t my kind of horror at all. I much prefer scary, mysterious human crime and occasionally a paranormal story. Torture porn is not at all my thing. This was very well written though, so props to Lanagan for that.
<b><u>The Clay Party</b></u> by Steve Duffy
<i>4 stars</i>
Again, not exactly what I’d classify as a horror story, but a great read nonetheless. Excellently written and enjoyable the whole way through, up until the end… the ending definitely wasn’t my kind of style so that was disappointing for me personally, but I’m sure others would love it!
<b><u>Strappado</b></u> by Laird Barron
<i>3 stars</i>
Definitely one of the strangest of the shorts in this novel. I thought it was excellently written but I didn’t quite get it? Maybe I was just having an off day when I read this but it didn’t really do anything for me.
<b><u>Lonegan’s Luck</b></u> by Stephen Graham Jones
<i>4 stars</i>
This is one of those stories I don’t know why I like. I never used to be into these kinds of rural town, religious apocalyptic kind of books, but ever since reading Mammoth, I’ve begun to enjoy reading them. Admittedly this had me a little confused to begin with, there were what felt like a lot of characters, but in the end none of the mattered anyway, they were just there to set the scene.
<b><u>Mr Pigsny</b></u> by Reggie Oliver
<i>3 stars</i>
I feel like I’ve read this book a million times. It’s one of those stories that's been redone time and time again with just slight changes here and there. It isn’t a bad plot per say, I certainly enjoyed it, it just had nothing unique about it.
<b><u>At Night, When the Demons Come by</b></u> by Ray Cluley
<i>4 stars</i>
One of the longer stories in this book but also one of the best. It had a pleasing twist to it and some interesting characters. I guess I quite like the whole apocalyptic feel when it comes to stories. I personally don’t feel this one was a horror story, more like a fantasy thriller.
<b><u>Was She Wicked? Was She Good?</b></u> by Mary Rickert
<i>4 stars</i>
This was a sad horror story, but in a way, it was also quite beautiful. I really liked the plot, it was something quite different to all the others in this collection and I thought the way it was written flowed well. Enjoyable short story!
<b><u>The Shallows</b></u> by John Langan
<i>2 stars</i>
I liked how this was written but I didn’t get it? I got bored halfway through it too, it was a half an hour read and I just couldn’t understand it so I skimmed the last 10 minutes or so. Yawn.
<b><u>Little Pig</b></u> by Anna Taborska
<i>3 stars</i>
Meh. This was well written and very different to the rest of the stories in this collection but was it a horror story? No. It was tragic, but not scary. Disappointing because whenever I see the word “pig” in relation to something “scary” I think of AHS.
<b><u>Omphalos</b></u> by Livia Llewellyn
<i>3 stars</i>
<b>TRIGGER WARNING: SEXUAL ABUSE</b>
This story was definitely very unique to the rest of the stories in this collection in the terms that this was a horror story that focused more on the real life horrors of families rather than made up monsters and ghouls. This story isn’t for the faint-hearted, it was horrific and gruesome and very upsetting. It wasn’t the best story in the collection when it came to plot or writing style, but it did bring out strong emotions in me, which other stories have been unable to do.
<b><u>How We Escaped Our Certain Fate</b></u> by Dan Chaon
<i>5 stars</i>
I liked how this was a different take on a classic zombie story - <b><i>”It wasn’t the end of the world… of course, a bite would infect you, but they weren’t terribly aggressive, in general.”</b></i> This was by far my favourite story in the entire book, it was so sad and emotional. It was beautiful.
<b><u>That Tiny Flutter of the Heart I Used to Call Love</b></u> by Robert Shearman
<i>4 stars</i>
Creepy, creepy, creepy. Dolls terrify me thanks to modern horror, although, really, I’ve always felt unsettled by them. Enjoyable story though. Poor Julian.
(This story almost had my name in it! “Suki” is close enough to Zuky.)
<b><u>Interstate Love Song (Murder Ballad No.8)</b></u> by Caitlin R. Kiernan
<i>3 stars</i>
Hmm, why did the shorts at the end of this book get all meaningful and loved up? I think that kinda ruined this for me. Granted it was disturbed and pretty grotesque at times but sadness of the ending ruined that creepy effect of the book and just left this kind of hanging in the space between horror and tragedy.
<b><u>Shay Corsham Worsted</b></u> by Garth Nix
<i>4 stars</i>
This was an interesting story and I liked our harsh but caring main character, Sir David. I wish this story was a little longer so we could find out more about Shay because I feel the missing backstory left this plot wide open. Enjoyable nonetheless.
<b><u>The Atlas of Hell</b></u> by Nathan Ballingrud
<i>3 stars</i>
I really enjoyed this to begin with though I thought it had a little David Wong influence, a writing style I’m not into. All was going well for this story until I got towards the end of it, where it completely lost me. Whether this is down to the annoying man sat on the train next to me, speaking into his phone at 32596 decibels, or just because the plot went AWOL, we’ll never know.
<b><u>Ambitious Boys Like You</b></u> by Richard Kadrey
<i>4 stars</i>
I like these kinds of creepy stories! They’re not particularly unique anymore, because they’ve been done so many different times in so many different, but similar ways, but they’re still fun to read. The old man was especially disturbing just because he was so witty and chilled out. I liked that this story had elements of humour to it, it made a nice change to the more recent emotion filled stories.
I’d like to thank Netgalley and Tachyon Publications for giving me the opportunity to read this in an exchange for an honest review.
Housewife of Horror (12 KP) rated The Canal (2014) in Movies
Aug 25, 2018
Contains spoilers, click to show
The Canal (2014)
Platform: Shudder
Genre: Horror
Country: Ireland (IFB)
Running Time: 92 minutes
Written and Directed by: Ivan Kavanagh
Release Date: April 18th 2014 (Tribeca Film Festival)
Cast: Rupert Evans; Steve Oram; Antonia Campbell-Hughes; Hannah Hoekstra
After found footage, psychological horror films are a favorite of mine. I love how they pull you into the story, how up is down, left is right, I love to be enveloped by the plot. That tingly feeling I get on the back of my neck, the hairs standing up, I know then it has me in it’s clutches. I had that feeling with The Canal.
David (Rupert Evans) works as a film archivist, he is given a reel of footage from the police archives to watch and subsequently archive by his work colleague and close friend Claire (Antonia Campbell-Hughes), which turns out to be old crime scene footage of he and his wife’s current home. It was the scene of a shocking crime in 1902, the brutal murder of a cheating wife, their children and the nanny by the enraged father.
David suspects his wife Alice (Hannah Hoekstra) of having an affair, so he decides to follow her one night, only to unfortunately confirm his suspicions. He watches Alice while she is with her lover, and then picking up a hammer, he appears to mull over the idea of using it, only to quickly come to his senses. Walking away, he throws the hammer in to the canal on the way back to their marital home, where he has left their young son asleep in bed, alone in the house.
David, feeling sick from what he witnessed, as well as what he had considered doing about it, runs into the (quite dirty) canal-side public toilets. He hears something or someone coming in after him, and then see’s them, their feet, under the stall door, followed by fingers appearing to creep over the top of the door. He then proceeds to suffer from quite nightmarish visions that include the man, the husband, from the 1902 crime scene footage. He seems to be taunting David, whispering things to him. David, in a state of distress, manages to crawl outside, where he then witnesses what appears to be his wife being thrown into the canal; he just can’t see it very clearly or coherently. He later comes round on the floor of the bathroom, unnerved and disheveled, and makes his way home. The next morning, when he realises that Alice has not come home that night, David goes to the local police station to report her missing. Obviously, the police suspect David, “It’s always the husband” says the (inept) detective on the case.
The plot twists and turns, is it David? Is it the entity? Some great revelations about the grim history of the house come up throughout. It’s an interesting watch that comes to a disturbing conclusion.
A great little scene, that made me believe David was the killer, was during one of his viewings of the old footage. He stood up, in front of the projector, silhouetting him in front of the screen, making him appear to be a dark shadow. To me, this was the directors’ nod to David’s darkness within.
The Canal is a great psychological horror; it does very well to dig itself under your skin as you watch, and drag you in to this nightmare that David’s life has turned into. I was really impressed with the performance of Rupert Evans, tormented and devastated, he made David’s pain almost tangible. Watching him seemingly fall further into madness as the story progressed was quite frightening. I really felt for the nanny, she is a totally innocent girl who just wants to protect David and Alice’s son Billy, and can’t leave even when she knows she should. She gets dragged deeper and deeper in to the madness; everyone close to David is brought into this waking nightmare.
The ending is well, quite creepy and rather disturbing as I have said earlier. The story feels to me to have come full circle, and you can envision that it is a tormenting nightmare that will repeat itself over and over with future residents of the house for years to come.
4/5 – It’s rather worth a look if you like a good psychological horror
Lesley-Ann (Housewife of Horror)
Platform: Shudder
Genre: Horror
Country: Ireland (IFB)
Running Time: 92 minutes
Written and Directed by: Ivan Kavanagh
Release Date: April 18th 2014 (Tribeca Film Festival)
Cast: Rupert Evans; Steve Oram; Antonia Campbell-Hughes; Hannah Hoekstra
After found footage, psychological horror films are a favorite of mine. I love how they pull you into the story, how up is down, left is right, I love to be enveloped by the plot. That tingly feeling I get on the back of my neck, the hairs standing up, I know then it has me in it’s clutches. I had that feeling with The Canal.
David (Rupert Evans) works as a film archivist, he is given a reel of footage from the police archives to watch and subsequently archive by his work colleague and close friend Claire (Antonia Campbell-Hughes), which turns out to be old crime scene footage of he and his wife’s current home. It was the scene of a shocking crime in 1902, the brutal murder of a cheating wife, their children and the nanny by the enraged father.
David suspects his wife Alice (Hannah Hoekstra) of having an affair, so he decides to follow her one night, only to unfortunately confirm his suspicions. He watches Alice while she is with her lover, and then picking up a hammer, he appears to mull over the idea of using it, only to quickly come to his senses. Walking away, he throws the hammer in to the canal on the way back to their marital home, where he has left their young son asleep in bed, alone in the house.
David, feeling sick from what he witnessed, as well as what he had considered doing about it, runs into the (quite dirty) canal-side public toilets. He hears something or someone coming in after him, and then see’s them, their feet, under the stall door, followed by fingers appearing to creep over the top of the door. He then proceeds to suffer from quite nightmarish visions that include the man, the husband, from the 1902 crime scene footage. He seems to be taunting David, whispering things to him. David, in a state of distress, manages to crawl outside, where he then witnesses what appears to be his wife being thrown into the canal; he just can’t see it very clearly or coherently. He later comes round on the floor of the bathroom, unnerved and disheveled, and makes his way home. The next morning, when he realises that Alice has not come home that night, David goes to the local police station to report her missing. Obviously, the police suspect David, “It’s always the husband” says the (inept) detective on the case.
The plot twists and turns, is it David? Is it the entity? Some great revelations about the grim history of the house come up throughout. It’s an interesting watch that comes to a disturbing conclusion.
A great little scene, that made me believe David was the killer, was during one of his viewings of the old footage. He stood up, in front of the projector, silhouetting him in front of the screen, making him appear to be a dark shadow. To me, this was the directors’ nod to David’s darkness within.
The Canal is a great psychological horror; it does very well to dig itself under your skin as you watch, and drag you in to this nightmare that David’s life has turned into. I was really impressed with the performance of Rupert Evans, tormented and devastated, he made David’s pain almost tangible. Watching him seemingly fall further into madness as the story progressed was quite frightening. I really felt for the nanny, she is a totally innocent girl who just wants to protect David and Alice’s son Billy, and can’t leave even when she knows she should. She gets dragged deeper and deeper in to the madness; everyone close to David is brought into this waking nightmare.
The ending is well, quite creepy and rather disturbing as I have said earlier. The story feels to me to have come full circle, and you can envision that it is a tormenting nightmare that will repeat itself over and over with future residents of the house for years to come.
4/5 – It’s rather worth a look if you like a good psychological horror
Lesley-Ann (Housewife of Horror)
Emma @ The Movies (1786 KP) rated Wonder Woman 1984 (2020) in Movies
Jan 22, 2021
I swung between wanting to see this and not, had it been a normal world then of course I would have gone regardless, but as it is I wasn't having strong feelings about this one.
Diana's dreams come true at the hands of an ancient artefact that can grant wishes. But as a wish is given something is taken away, and when Maxwell Lord, businessman and entrepreneur, makes a wish, the world is about to learn the lesson of the phrase... "be careful what you wish for".
First off... this absolutely would have been better on the big screen. It's never been so apparent to me that a cinema experience of a film holds so much power, it's making me understand the differences in early reviews and home viewing reviews a lot more these days.
The story of WW84 is really a very simple one. Doodad does magic, people are evil, goodie must make them good again. And that somehow fills a whole 2 hour 31 minutes of film... it doesn't feel like a very satisfying experience. For all that opener, the conclusion seems to be fleeting and dare I say it... not entirely believable. Overall the whole thing doesn't get particularly deep at any point despite there being a lot of opportunities around the wishes, and there are some questionable moments that could fill several blog posts.
There's been a long pause between me writing the first part and continuing here. That pause involved me staring at my notes and contemplating just writing "meh" and finishing the review there. I'm really going to try and elaborate on my feelings though.
For a film with two villains it's not got much proper villainy in it. Barbara Minerva becoming Cheetah is massively underwhelming from what felt like a promising build-up, and Maxwell Lord, despite having the potential, was not big bad material. Neither had the drive in them to be a truly powerful force in the film, and what's the point in a villain if you can't get on board to hate them?
Kristen Wiig did give a great performance as Barbara, it was a smooth and interesting transition as she progressed, and it left me a lot less "meh" than everything else. But did anyone else just keep thinking Catwoman though?
I thought Pedro Pascal had 80's businessman down pretty well, but I found him to be a little lacklustre, and the character's story felt like the reason for that.
As with the first film, Gal Gadot is majestic on screen as Diana and Wonder Woman... but even here I found myself shrugging at what was going on, and cringing at some problematic plot points. I'm trying to work out if the appeal of the first film was partially due to the amusement of Diana discovering the world for the first time. Here she's savvy and elegant (even for the 0s), and she didn't have the same humour. Instead, we've got that role filled by Steve (Chris Pine). His discovery of the 80s world was fairly amusing, but the way in which he came back bugged me.
All in all characters really didn't grab me, out two main newbies felt very much like rip-offs of other things rather than a great recreation of their source material.
Visually the film was amazing, the bright colours, the style, all fit the era and you gotta love some parachute pants. But outside of that it just merged into other films for me.
That CGI... how can you get so many things right but somehow not do the villains? It's Steppenwolf all over again, Cheetah looked bad. Not only that, but it took an immense amount of time for us to even get to that full effect... so why wasn't it on point? How are DC incapable of animating their villains?
Will I watch this again? Probably, but I'm not overly fussed about it being anytime soon. It wasn't anywhere near as entertaining as the first for me, and didn't have enough action to cover up the disappointing story and character work. I really wish I felt strongly one way or the other on this and not having just another sitting on the fence swinging my feet review. I did appreciate some early vaguely Quidditchy vibes at the beginning though.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/01/wonder-woman-1984-movie-review.html
Diana's dreams come true at the hands of an ancient artefact that can grant wishes. But as a wish is given something is taken away, and when Maxwell Lord, businessman and entrepreneur, makes a wish, the world is about to learn the lesson of the phrase... "be careful what you wish for".
First off... this absolutely would have been better on the big screen. It's never been so apparent to me that a cinema experience of a film holds so much power, it's making me understand the differences in early reviews and home viewing reviews a lot more these days.
The story of WW84 is really a very simple one. Doodad does magic, people are evil, goodie must make them good again. And that somehow fills a whole 2 hour 31 minutes of film... it doesn't feel like a very satisfying experience. For all that opener, the conclusion seems to be fleeting and dare I say it... not entirely believable. Overall the whole thing doesn't get particularly deep at any point despite there being a lot of opportunities around the wishes, and there are some questionable moments that could fill several blog posts.
There's been a long pause between me writing the first part and continuing here. That pause involved me staring at my notes and contemplating just writing "meh" and finishing the review there. I'm really going to try and elaborate on my feelings though.
For a film with two villains it's not got much proper villainy in it. Barbara Minerva becoming Cheetah is massively underwhelming from what felt like a promising build-up, and Maxwell Lord, despite having the potential, was not big bad material. Neither had the drive in them to be a truly powerful force in the film, and what's the point in a villain if you can't get on board to hate them?
Kristen Wiig did give a great performance as Barbara, it was a smooth and interesting transition as she progressed, and it left me a lot less "meh" than everything else. But did anyone else just keep thinking Catwoman though?
I thought Pedro Pascal had 80's businessman down pretty well, but I found him to be a little lacklustre, and the character's story felt like the reason for that.
As with the first film, Gal Gadot is majestic on screen as Diana and Wonder Woman... but even here I found myself shrugging at what was going on, and cringing at some problematic plot points. I'm trying to work out if the appeal of the first film was partially due to the amusement of Diana discovering the world for the first time. Here she's savvy and elegant (even for the 0s), and she didn't have the same humour. Instead, we've got that role filled by Steve (Chris Pine). His discovery of the 80s world was fairly amusing, but the way in which he came back bugged me.
All in all characters really didn't grab me, out two main newbies felt very much like rip-offs of other things rather than a great recreation of their source material.
Visually the film was amazing, the bright colours, the style, all fit the era and you gotta love some parachute pants. But outside of that it just merged into other films for me.
That CGI... how can you get so many things right but somehow not do the villains? It's Steppenwolf all over again, Cheetah looked bad. Not only that, but it took an immense amount of time for us to even get to that full effect... so why wasn't it on point? How are DC incapable of animating their villains?
Will I watch this again? Probably, but I'm not overly fussed about it being anytime soon. It wasn't anywhere near as entertaining as the first for me, and didn't have enough action to cover up the disappointing story and character work. I really wish I felt strongly one way or the other on this and not having just another sitting on the fence swinging my feet review. I did appreciate some early vaguely Quidditchy vibes at the beginning though.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/01/wonder-woman-1984-movie-review.html
Chris Sawin (602 KP) rated All the Boys Love Mandy Lane (2006) in Movies
Jun 18, 2019
Mandy Lane (Amber Heard) becomes the most desirable girl in high school over one fateful summer; she's definitely not like the other girls her age though. While most guys want to do everything imaginable to her, she's turned them all down. The only guy she really gives the time of day is her best friend, Emmet (Michael Welch). That is until a certain incident at a pool party comes between them. Now nine months later, Mandy has distanced herself from Emmet and has a group of new friends. These friends have decided to invite Mandy to a ranch out in the middle of nowhere for a few days and the guys who tag along hope to accomplish what, up to this point, has been impossible. But when people begin to turn up missing, they soon realize that they're not alone and someone is taking their obsession with Mandy Lane a little too far.
All the Boys Love Mandy Lane was like an urban myth for the longest period of time. The film debuted at the Toronto International Film Festival in 2006 and released in the UK in 2008. It seemed to be released in every country other than the US shortly thereafter and it took another excruciating five years since it didn’t debut stateside until October of 2013. For a film that was originally shot in 2006, taking seven years to finally see distribution is bizarre and disheartening. The horror film originally caught the eye of The Weinstein Company immediately after debuting at TIFF, but the Weinstein brothers couldn’t come to a decision regarding its release (Harvey wanted a wide theatrical distribution while Bob thought the “artsy” film deserved more of a limited release). Rights to the film were eventually sold to a German company called Senator Entertainment US, who released the film in Germany and Austria and had the intention of premiering the film in the US. But the US branch of Senator Entertainment US went under in 2009 and rights to the film were dead in the water until The Weinstein Company reacquired distribution rights in 2013. The film was released on demand on September 6th with a limited theatrical run October 11th the same year.
The crew for the film consisted of college students freshly graduated from the American Film Institute. Producer Chad Feehan had the film as his thesis during college as work on the project initially began in 2003. Written by Jacob Forman and directed by Jonathan Levine (50/50, Warm Bodies), the film garnered an unbelievable amount of positive buzz online that accumulated into this massive pile of insurmountable expectations. Reading about the film for so long and hearing about how good it was from the biggest of horror sites probably inadvertently hurt the film more than it escalated interest for it.
All the Boys Love Mandy Lane takes a Dazed and Confused approach to the first half of the film. Similar to how Wolf Creek had you swimming through 45-minutes of character development before the actual horror began (or how Hatchet was silly for the same amount of time before diving into awesome practical gore effects), All the Boys Love Mandy Lane is mostly high school kids getting into typical teenager shenanigans; drinking alcohol, doing drugs, and having sex. The second half of the film is pure horror and is essentially a slasher film. The horror is teased at first with little glimpses of terror before diving right back into high school mode, but the film is able to intensify its sense of dread to the point where it’s eventually beautifully horrific in every scene.
For a film that is made by first time filmmakers for less than $1 million, All the Boys Love Mandy Lane has beautiful cinematography. Vivid colors jump off the screen and seem even lusher once the film begins to cover itself in mud and dirt. Cinematographer Darren Genet has an eye for dynamic angles and utilizing when to focus and blur menacing figures in the background (or foreground) for maximum impact. The film also has a tendency to overlap shots in order to create an entirely new, which can probably be contributed to the talent of film editor Josh Noyes (The Wackness). These impressive filming techniques shine brightest when Bird (Edwin Hodge) is on-screen; when he goes to start the generator after the power goes out, when he confronts the killer, and the car chase. Like other successful film genres, horror can often become formulaic not only when it comes to its writing or how its acted but how it’s shot. It’s always a breath of fresh air when you can say a film is unique in some capacity; especially horror.
With Michael Welch mostly being associated with portraying popular high school student Mike Newton in the Twilight franchise, your expectations for a memorable performance from Welch in All the Boys Love Mandy Lane are probably fairly low. Around the time Mandy Lane was in peak hype mode, Welch was in the abysmal Day of the Dead remake. Directed by Steve Miner (Halloween H20) and also starring Nick Cannon, Day of the Dead is an atrocious remake (but maybe 2018’s remake Day of the Dead: Bloodline is worse). However, Welch’s portrayal of Emmet in Mandy Lane is exceptional. His performance, especially during the closing moments of the film, is captivating. He has this American Psycho quality to his psychotic behavior that is hauntingly mesmerizing.
All the Boys Love Mandy Lane puts a different spin on the slasher film that would have had way more of an impact had it originally been released ten years ago instead of five. The film does require patience from the audience as the film takes a slow and steady approach to its eventual slasher nature. While the outcome is likely fairly predictable, watching how everything unfolds in Mandy Lane is where it shines. The ending is the film’s crown jewel and even though the killer is revealed its open ending suits the film’s already ambiguous nature. Now that All the Boys Love Mandy Lane is readily available at your fingertips, its originality seemed much more promising when it felt like it was the holy grail of horror films (kind of like The Poughkeepsie Tapes). The film’s consistency to offer a slasher that cuts in a different direction than most horror films along with Michael Welch’s brilliantly unbalanced performance makes All the Boys Love Mandy Lane a worthwhile experience.
All the Boys Love Mandy Lane is currently free to stream on Amazon if you have Starz with Prime Video Channels. It’s also currently available to rent via Amazon Video ($2.99), Vudu ($2.99), and iTunes ($3.99). The film is can be purchased on DVD ($9.91) and Multi-Format Blu-ray ($12.99) on Amazon and is even cheaper on eBay (the Blu-ray is available for $8.99 and the DVD is $7.98, both have free shipping).
All the Boys Love Mandy Lane was like an urban myth for the longest period of time. The film debuted at the Toronto International Film Festival in 2006 and released in the UK in 2008. It seemed to be released in every country other than the US shortly thereafter and it took another excruciating five years since it didn’t debut stateside until October of 2013. For a film that was originally shot in 2006, taking seven years to finally see distribution is bizarre and disheartening. The horror film originally caught the eye of The Weinstein Company immediately after debuting at TIFF, but the Weinstein brothers couldn’t come to a decision regarding its release (Harvey wanted a wide theatrical distribution while Bob thought the “artsy” film deserved more of a limited release). Rights to the film were eventually sold to a German company called Senator Entertainment US, who released the film in Germany and Austria and had the intention of premiering the film in the US. But the US branch of Senator Entertainment US went under in 2009 and rights to the film were dead in the water until The Weinstein Company reacquired distribution rights in 2013. The film was released on demand on September 6th with a limited theatrical run October 11th the same year.
The crew for the film consisted of college students freshly graduated from the American Film Institute. Producer Chad Feehan had the film as his thesis during college as work on the project initially began in 2003. Written by Jacob Forman and directed by Jonathan Levine (50/50, Warm Bodies), the film garnered an unbelievable amount of positive buzz online that accumulated into this massive pile of insurmountable expectations. Reading about the film for so long and hearing about how good it was from the biggest of horror sites probably inadvertently hurt the film more than it escalated interest for it.
All the Boys Love Mandy Lane takes a Dazed and Confused approach to the first half of the film. Similar to how Wolf Creek had you swimming through 45-minutes of character development before the actual horror began (or how Hatchet was silly for the same amount of time before diving into awesome practical gore effects), All the Boys Love Mandy Lane is mostly high school kids getting into typical teenager shenanigans; drinking alcohol, doing drugs, and having sex. The second half of the film is pure horror and is essentially a slasher film. The horror is teased at first with little glimpses of terror before diving right back into high school mode, but the film is able to intensify its sense of dread to the point where it’s eventually beautifully horrific in every scene.
For a film that is made by first time filmmakers for less than $1 million, All the Boys Love Mandy Lane has beautiful cinematography. Vivid colors jump off the screen and seem even lusher once the film begins to cover itself in mud and dirt. Cinematographer Darren Genet has an eye for dynamic angles and utilizing when to focus and blur menacing figures in the background (or foreground) for maximum impact. The film also has a tendency to overlap shots in order to create an entirely new, which can probably be contributed to the talent of film editor Josh Noyes (The Wackness). These impressive filming techniques shine brightest when Bird (Edwin Hodge) is on-screen; when he goes to start the generator after the power goes out, when he confronts the killer, and the car chase. Like other successful film genres, horror can often become formulaic not only when it comes to its writing or how its acted but how it’s shot. It’s always a breath of fresh air when you can say a film is unique in some capacity; especially horror.
With Michael Welch mostly being associated with portraying popular high school student Mike Newton in the Twilight franchise, your expectations for a memorable performance from Welch in All the Boys Love Mandy Lane are probably fairly low. Around the time Mandy Lane was in peak hype mode, Welch was in the abysmal Day of the Dead remake. Directed by Steve Miner (Halloween H20) and also starring Nick Cannon, Day of the Dead is an atrocious remake (but maybe 2018’s remake Day of the Dead: Bloodline is worse). However, Welch’s portrayal of Emmet in Mandy Lane is exceptional. His performance, especially during the closing moments of the film, is captivating. He has this American Psycho quality to his psychotic behavior that is hauntingly mesmerizing.
All the Boys Love Mandy Lane puts a different spin on the slasher film that would have had way more of an impact had it originally been released ten years ago instead of five. The film does require patience from the audience as the film takes a slow and steady approach to its eventual slasher nature. While the outcome is likely fairly predictable, watching how everything unfolds in Mandy Lane is where it shines. The ending is the film’s crown jewel and even though the killer is revealed its open ending suits the film’s already ambiguous nature. Now that All the Boys Love Mandy Lane is readily available at your fingertips, its originality seemed much more promising when it felt like it was the holy grail of horror films (kind of like The Poughkeepsie Tapes). The film’s consistency to offer a slasher that cuts in a different direction than most horror films along with Michael Welch’s brilliantly unbalanced performance makes All the Boys Love Mandy Lane a worthwhile experience.
All the Boys Love Mandy Lane is currently free to stream on Amazon if you have Starz with Prime Video Channels. It’s also currently available to rent via Amazon Video ($2.99), Vudu ($2.99), and iTunes ($3.99). The film is can be purchased on DVD ($9.91) and Multi-Format Blu-ray ($12.99) on Amazon and is even cheaper on eBay (the Blu-ray is available for $8.99 and the DVD is $7.98, both have free shipping).
Bob Mann (459 KP) rated Ford v Ferrari (aka Le Mans '66) (2019) in Movies
Nov 20, 2019
Damon, Bale and fast cars (1 more)
Epic technical film making - cinematography, editing and sound - Oscar bait
A linear story on a circular track - but beautifully done.
Despite the love affair cinema has had with cars over the years, the sport of motor racing on film has been patchy. Too often the drama on the track has been deluged with melodrama off the track, as in John Frankenheimer's "Grand Prix" from 1966. While recent efforts such as Ron Howard's "Rush" have brought modern filming techniques to better convey the speed and excitement, it is Steve McQueen's "Le Mans" from 1971 that had previously set the bar for realism in the sport. But even there, there were a few off-track love stories to interweave into the action.
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
Emma @ The Movies (1786 KP) rated Avengers: Endgame (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
Contains spoilers, click to show
I'm not really sure where to start with this so settle in for a ride. I've tried to avoid major spoilers but some of the things I've written might give away or hint at events in Endgame so please don't read this until you've seen it at the cinema.
We were left forlorn in the wilds of Wakanda after Thanos' snap in Infinity War. 50% of every living creatures on the planet, on every planet, wiped out of existence. Thanos has set off in his retirement while our heroes are reassembling. What's left of the team is trying to get back to a normal life, saving the world, saving each other. Some are moving on, some are stuck on the past, all are lost.
I wrote more notes for this than I've written for any other movie. It was so much of a problem that I condensed the original and then recondensed them into collected topics. I'm vaguely going to go in chronological order, let's do it!
We open with Hawkeye. The scene was simple and effective to help line up the change in him, but it wasn't the tone I expected for the beginning of the film. You have to start it somehow, and I don't know how I thought they would but tonally it didn't say "Marvel" to me. In the trailers we see his darker side coming through, after seeing the film I can't help but wonder if they needed to do this to him. It felt a little like they were just doing it to use for one scene. Clint is a stand-up guy, he would have been there for them regardless in this situation.
As we recap on what's happening in the wake of the snap we find Nebula and Tony attempting to return from Titan on the Guardian's ship. For me, Nebula was the best bit of the whole film. The scenes with Tony are wonderful and touching, she's able to make a connection that she's never really had before and her transformation through the film is a delight.
Something at this point that I feel I should bring up is the partnership that we witness. Tony and Nebula, Nebula and War Machine, Rocket and Thor. We're given lots of different Marvel Mash-ups with great results. Nebula, in particular, shone through in these. Watch out for her with Rhodey.
Steve, Cap, is very much in control throughout this movie, in leadership as well as of his emotions. He still has his positive outlook on life but even when it wanes he's determined. Visually they've left you no room to wonder on whether he is the first Avenger, he leads into a room and he gets a lot of shots that frame him perfectly. But he has changed... on more than one occasion I found myself going "Language, Steve!" I was unsure about his support group in the trailer and after the full scene it felt like it was just there to set up occurrences towards the end of the film. You'd be forgiven for thinking this was actually a Captain America film, it felt much more like one than Civil War did.
Before coming to Endgame one of the things I had been thinking about was how Scott was going to return from the quantum realm. What happens kind of feels like they had no idea how they were going to do it, and it was frustrating and leaves you with questions about what happened in the five years since the snap. There's also a potential horror movie spin-off teased in Scott's walk through San Francisco, he encounters a kid on a bike... classic horror movie moment in that scene.
Nat gets to flex her leadership muscles in the post-snap world trying to keep a new band of Avengers together. Still based in the Avengers complex she's coordinating with members around the world and out in space. We finally see some genuine raw emotion from her as they search for Hawkeye as he's off on his... well what is it? Redirected revenge? She's always had a trusted position with Fury and it seems like his dusting has pushed her to step up.
Carol is back after her recent debut... I still don't think we can call her Captain Marvel when no one else does. I still don't like her, I can't help it. She's cocky and she doesn't seem to have any desire to actually work with the team. If there's anything that I got from this film it's that Black Widow should have had her own film already rather than introducing Carol at the last minute. She's not really a massive feature of the film and her inclusion feels almost like they needed to a solution to a problem and she was the quickest way to fix it.
Now we get to the point where I had some major upset. In my opinion, Marvel have done wrong by Bruce/Hulk and Thor. I saw a spoiler on Twitter for Bruce that I hoped was fan-inspired, but when we get to him in the film I sat in annoyed silence as those around me murmured with excitement. As far as Thor goes, I can see why they made the choices they did with him but it felt like they just turned him into a joke, and that didn't sit right with me at all. Just one small step back from what they did and they would have nailed it, but it felt like they just went for the cheap laugh at his expense.
So it's time to talk about time travel, I think we all knew that we could expect to see it in some way or another in Endgame. Tony and Bruce obvious have a big hand in this one, and it was nice to see them acknowledging the "normal" person discussion of time travel with film references. Outside of that though they threw a lot of complicated script at it, it felt like a very random step away from how they usually deal with technical things in the universe.
From the one hour point of the movie(ish) everything starts to pick up, up until then I wasn't loving the film, and that was upsetting to me. What follows from the quantum suit walk is a lot of fun. There are a lot of nostalgic moments that brought humour and a fun layer to the older films and we get what is probably the most satisfying moment of the entire MCU.
Visually this is one of the better films in the sequence. Shots weren't overly cluttered and so busy that you couldn't see what was happening, and there were a lot more poignant visuals. There are however a few that make me think they had to be reshot because you get very specific angles that give you the back of someone's head and the audio sounds slightly off to the rest of the scene.
Two things left to specifically mention...
The women of Marvel. For so many films we had very few female heroes, certainly none that got their fair share of coverage until The Wasp, Captain Marvel and an excellent female ensemble in Black Panther. I'm all for more female characters but I think Endgame went too far. There is one scene near the end that felt more like they were worried they hadn't had enough women on screen and they really packed them in, it felt awkward rather than awesome.
Stan Lee's cameo. It wasn't the usual fun we're used to. Fleeting and forgettable. Stan deserved better, this just didn't feel right. I even briefly wondered if it was actually him.
For me, Endgame wasn't the finale that we deserved. It wasn't better than Infinity War but I don't think that it could have been because of how much it had to bring to the table. I went and saw it twice because I like to see the 3D and 2D when they come out, it was actually one of the better 3D films I've seen on a regular screen.
I probably would have given this 3 stars, while I had fun watching it I came out both times feeling kind of "meh" about it. Nebula, America's ass and the epic moment in the finale, as well as a few other amusing moments, bumped it up slightly. I sadly found that first hour rather challenging and couldn't get on board with some of the character choices that were made.
What you should do
Let's face it, you're going to watch it if you've invested time in watching all the Marvel movies and I'm sure you'll enjoy it. I'm aware I'm in a minority with my feelings about this, but not everyone can feel the same way about everything. What a world it would be if we could.
Movie thing you wish you could take home
I'd still like an infinity stone... but I don't know which one.
We were left forlorn in the wilds of Wakanda after Thanos' snap in Infinity War. 50% of every living creatures on the planet, on every planet, wiped out of existence. Thanos has set off in his retirement while our heroes are reassembling. What's left of the team is trying to get back to a normal life, saving the world, saving each other. Some are moving on, some are stuck on the past, all are lost.
I wrote more notes for this than I've written for any other movie. It was so much of a problem that I condensed the original and then recondensed them into collected topics. I'm vaguely going to go in chronological order, let's do it!
We open with Hawkeye. The scene was simple and effective to help line up the change in him, but it wasn't the tone I expected for the beginning of the film. You have to start it somehow, and I don't know how I thought they would but tonally it didn't say "Marvel" to me. In the trailers we see his darker side coming through, after seeing the film I can't help but wonder if they needed to do this to him. It felt a little like they were just doing it to use for one scene. Clint is a stand-up guy, he would have been there for them regardless in this situation.
As we recap on what's happening in the wake of the snap we find Nebula and Tony attempting to return from Titan on the Guardian's ship. For me, Nebula was the best bit of the whole film. The scenes with Tony are wonderful and touching, she's able to make a connection that she's never really had before and her transformation through the film is a delight.
Something at this point that I feel I should bring up is the partnership that we witness. Tony and Nebula, Nebula and War Machine, Rocket and Thor. We're given lots of different Marvel Mash-ups with great results. Nebula, in particular, shone through in these. Watch out for her with Rhodey.
Steve, Cap, is very much in control throughout this movie, in leadership as well as of his emotions. He still has his positive outlook on life but even when it wanes he's determined. Visually they've left you no room to wonder on whether he is the first Avenger, he leads into a room and he gets a lot of shots that frame him perfectly. But he has changed... on more than one occasion I found myself going "Language, Steve!" I was unsure about his support group in the trailer and after the full scene it felt like it was just there to set up occurrences towards the end of the film. You'd be forgiven for thinking this was actually a Captain America film, it felt much more like one than Civil War did.
Before coming to Endgame one of the things I had been thinking about was how Scott was going to return from the quantum realm. What happens kind of feels like they had no idea how they were going to do it, and it was frustrating and leaves you with questions about what happened in the five years since the snap. There's also a potential horror movie spin-off teased in Scott's walk through San Francisco, he encounters a kid on a bike... classic horror movie moment in that scene.
Nat gets to flex her leadership muscles in the post-snap world trying to keep a new band of Avengers together. Still based in the Avengers complex she's coordinating with members around the world and out in space. We finally see some genuine raw emotion from her as they search for Hawkeye as he's off on his... well what is it? Redirected revenge? She's always had a trusted position with Fury and it seems like his dusting has pushed her to step up.
Carol is back after her recent debut... I still don't think we can call her Captain Marvel when no one else does. I still don't like her, I can't help it. She's cocky and she doesn't seem to have any desire to actually work with the team. If there's anything that I got from this film it's that Black Widow should have had her own film already rather than introducing Carol at the last minute. She's not really a massive feature of the film and her inclusion feels almost like they needed to a solution to a problem and she was the quickest way to fix it.
Now we get to the point where I had some major upset. In my opinion, Marvel have done wrong by Bruce/Hulk and Thor. I saw a spoiler on Twitter for Bruce that I hoped was fan-inspired, but when we get to him in the film I sat in annoyed silence as those around me murmured with excitement. As far as Thor goes, I can see why they made the choices they did with him but it felt like they just turned him into a joke, and that didn't sit right with me at all. Just one small step back from what they did and they would have nailed it, but it felt like they just went for the cheap laugh at his expense.
So it's time to talk about time travel, I think we all knew that we could expect to see it in some way or another in Endgame. Tony and Bruce obvious have a big hand in this one, and it was nice to see them acknowledging the "normal" person discussion of time travel with film references. Outside of that though they threw a lot of complicated script at it, it felt like a very random step away from how they usually deal with technical things in the universe.
From the one hour point of the movie(ish) everything starts to pick up, up until then I wasn't loving the film, and that was upsetting to me. What follows from the quantum suit walk is a lot of fun. There are a lot of nostalgic moments that brought humour and a fun layer to the older films and we get what is probably the most satisfying moment of the entire MCU.
Visually this is one of the better films in the sequence. Shots weren't overly cluttered and so busy that you couldn't see what was happening, and there were a lot more poignant visuals. There are however a few that make me think they had to be reshot because you get very specific angles that give you the back of someone's head and the audio sounds slightly off to the rest of the scene.
Two things left to specifically mention...
The women of Marvel. For so many films we had very few female heroes, certainly none that got their fair share of coverage until The Wasp, Captain Marvel and an excellent female ensemble in Black Panther. I'm all for more female characters but I think Endgame went too far. There is one scene near the end that felt more like they were worried they hadn't had enough women on screen and they really packed them in, it felt awkward rather than awesome.
Stan Lee's cameo. It wasn't the usual fun we're used to. Fleeting and forgettable. Stan deserved better, this just didn't feel right. I even briefly wondered if it was actually him.
For me, Endgame wasn't the finale that we deserved. It wasn't better than Infinity War but I don't think that it could have been because of how much it had to bring to the table. I went and saw it twice because I like to see the 3D and 2D when they come out, it was actually one of the better 3D films I've seen on a regular screen.
I probably would have given this 3 stars, while I had fun watching it I came out both times feeling kind of "meh" about it. Nebula, America's ass and the epic moment in the finale, as well as a few other amusing moments, bumped it up slightly. I sadly found that first hour rather challenging and couldn't get on board with some of the character choices that were made.
What you should do
Let's face it, you're going to watch it if you've invested time in watching all the Marvel movies and I'm sure you'll enjoy it. I'm aware I'm in a minority with my feelings about this, but not everyone can feel the same way about everything. What a world it would be if we could.
Movie thing you wish you could take home
I'd still like an infinity stone... but I don't know which one.
Bob Mann (459 KP) rated The Shape of Water (2017) in Movies
Sep 29, 2021
A mystical tale of fish and fingers.
With perfect timing after scooping 13 Oscar nominations, “The Shape of Water” arrives for preview screenings in the UK. Is it worth all the hype?
Well, in a word, yes.
Not since Spielberg entranced the world in 1982 with a love story between an isolated and lonely child and an alien, stranded a million light-years from home, have we seen a magical fairy-tale so well told.
Cleaning up at the (box) office. Sally Hawkins and Doug Jones as the creature.
Here Lewisham’s own Sally Hawkins (“Paddington”, “Godzilla“) plays Elisa Esposito, an attractive but mousy mute living above a cinema and next door to her best friend: a struggling artist called Giles (Richard Jenkins). Sexually-frustrated, Elisa works out those tensions in the bath every morning before heading off to work as a cleaner at a government research institute. Together with partner Zelda Fuller (Octavia Spencer, “Hidden Figures“) she is asked to clean a highly secured room where a mysterious aquatic creature is being studied by the cruel and militaristic Strickland (Michael Shannon, “Midnight Special“, “Nocturnal Animals“) and the more compassionate scientist Hoffstetler. (The latter is played by Michael Stuhlbarg (“Miss Sloane“, “Steve Jobs“) in a performance that wasn’t recognised by the Academy, but for me really held the film’s story together). Elisa forms a relationship with the creature, and as the scientific investigations turn darker, she becomes determined to help him.
When you think about it, the similarities in the screenplay with E.T. are quite striking. But this is most definitely not a kid’s film, containing full frontal nudity, sex and some considerable violence, some of it “hands-over-the-eyes” worthy. Most of this violence comes courtesy of Shannon’s character, who is truly monstrous. He is uncontrollably vicious, single-minded and amoral: a hand over the mouth to silence his wife during vigourous sex cleverly belies where his true lust currently lies. (Shannon is just so convincing in all of his roles that, after “Nocturnal Animals“, it is a bit of a surprise to see that he is still alive and well!)
It’s worth pointing out for balance at this point that my wife thought this portrayal was over-egged for its villany, and she rated the film less highly than I did because of it.
Michael Shannon as evil incarnate.
So its no Oscar nomination this time for Shannon as a supporting actor. But that honour goes to Richard Jenkins, who is spectacularly good as the movie-musical-loving and pie-munching neighbour who is drawn unwillingly into Elisa’s plans. Giles is a richly fashioned character – also the film’s narrator – who struggles to fit in with the cruel and rascist 1962 world that he finds himself in. “Sometimes I think I was born too early or too late for my life” he bemoans to the creature whose loneliness he relates to. A scene in a cafe where he fastidiously wipes all traces of pie-filling from his tongue is masterfully done.
Richard Hawkins and Sally Hawkins, hatching a plan.
Octavia Spencer is also Oscar nominated for Best Supporting Actress, and it’s a magical partnership she shares with Hawkins, with each bouncing off each other wonderfully.
This leads to a ‘no brainer’ Oscar nomination for Sally Hawkins who delivers a star turn. She has to go through such a huge range of emotions in this film, and she genuinely makes you really care about the outcome like few films this year. It’s a little tricky since I haven’t seen “I Tonya” or “Ladybird” yet, but I would have thought that Ms Hawkins is going to possibly give Frances McDormand the closest run for her money on March 4th. My money would still be on McDormand for “3 Billboards Outside Ebbing, Missouri“, but the Oscar voters are bound to love “The Shape of Water”. For like “La La Land” last year, the film is (rather surprisingly for me) another love letter to Hollywood’s golden years, with Elisa and Giles living out their lives with classic movie music and dance numbers: a medium that Elisa only ever truly finds here “voice” through.
Eliza and Zelda about to give two fingers to the establishment.
In the technical categories the Oscar nominations were for Cinematography (Dan Laustsen); Film Editing (Sidney Wolinsky); Sound Editing (Nathan Robitaille and Nelson Ferreira); Sound Mixing (Glen Gauthier, Christian Cooke and Brad Zoern); Production Design (Paul D. Austerberry, Jeffrey A. Melvin and Shane Vieau); Original Score (Alexandre Desplat) and Costume Design (Luis Sequeira). And you really wouldn’t want to bet against any of these not to win, for the film is a technical delight. Right from the dreamlike opening titles (arguably, they missed a deserved nomination here for Visual Effects), the film is gorgeous to look at, with such brilliant detail in the production design that there is interesting stuff to look at in every frame. And the film editing is extraordinary: Elisa wobbles on the bucket she’s standing on, but it’s Strickland’s butt, perched on a table, that slips off. This is a film that deserves multiple repeat viewings.
The monster feeding the monster. Nick Searcy as General Hoyt with Strickland (Michael Shannon).
An the helm is the multi-talented Guillermo del Toro (“Pacific Rim”, “Crimson Peak”) who both directed and co-wrote the exceptionally smart screenplay (with Vanessa Taylor, “Divergent”) and is nominated for both. I actually found the story to be rather predictable, as regards Elisa’s story arc, but that in no way reduced my enjoyment of the film. For the “original screenplay” is nothing if not “original”…. it’s witty, intelligent and shocking at different turns.
The violence and sex won’t be for everyone… but this is a deep and rich movie experience that everyone who loves the movies should at least appreciate… hopefully in a dry cinema!
Well, in a word, yes.
Not since Spielberg entranced the world in 1982 with a love story between an isolated and lonely child and an alien, stranded a million light-years from home, have we seen a magical fairy-tale so well told.
Cleaning up at the (box) office. Sally Hawkins and Doug Jones as the creature.
Here Lewisham’s own Sally Hawkins (“Paddington”, “Godzilla“) plays Elisa Esposito, an attractive but mousy mute living above a cinema and next door to her best friend: a struggling artist called Giles (Richard Jenkins). Sexually-frustrated, Elisa works out those tensions in the bath every morning before heading off to work as a cleaner at a government research institute. Together with partner Zelda Fuller (Octavia Spencer, “Hidden Figures“) she is asked to clean a highly secured room where a mysterious aquatic creature is being studied by the cruel and militaristic Strickland (Michael Shannon, “Midnight Special“, “Nocturnal Animals“) and the more compassionate scientist Hoffstetler. (The latter is played by Michael Stuhlbarg (“Miss Sloane“, “Steve Jobs“) in a performance that wasn’t recognised by the Academy, but for me really held the film’s story together). Elisa forms a relationship with the creature, and as the scientific investigations turn darker, she becomes determined to help him.
When you think about it, the similarities in the screenplay with E.T. are quite striking. But this is most definitely not a kid’s film, containing full frontal nudity, sex and some considerable violence, some of it “hands-over-the-eyes” worthy. Most of this violence comes courtesy of Shannon’s character, who is truly monstrous. He is uncontrollably vicious, single-minded and amoral: a hand over the mouth to silence his wife during vigourous sex cleverly belies where his true lust currently lies. (Shannon is just so convincing in all of his roles that, after “Nocturnal Animals“, it is a bit of a surprise to see that he is still alive and well!)
It’s worth pointing out for balance at this point that my wife thought this portrayal was over-egged for its villany, and she rated the film less highly than I did because of it.
Michael Shannon as evil incarnate.
So its no Oscar nomination this time for Shannon as a supporting actor. But that honour goes to Richard Jenkins, who is spectacularly good as the movie-musical-loving and pie-munching neighbour who is drawn unwillingly into Elisa’s plans. Giles is a richly fashioned character – also the film’s narrator – who struggles to fit in with the cruel and rascist 1962 world that he finds himself in. “Sometimes I think I was born too early or too late for my life” he bemoans to the creature whose loneliness he relates to. A scene in a cafe where he fastidiously wipes all traces of pie-filling from his tongue is masterfully done.
Richard Hawkins and Sally Hawkins, hatching a plan.
Octavia Spencer is also Oscar nominated for Best Supporting Actress, and it’s a magical partnership she shares with Hawkins, with each bouncing off each other wonderfully.
This leads to a ‘no brainer’ Oscar nomination for Sally Hawkins who delivers a star turn. She has to go through such a huge range of emotions in this film, and she genuinely makes you really care about the outcome like few films this year. It’s a little tricky since I haven’t seen “I Tonya” or “Ladybird” yet, but I would have thought that Ms Hawkins is going to possibly give Frances McDormand the closest run for her money on March 4th. My money would still be on McDormand for “3 Billboards Outside Ebbing, Missouri“, but the Oscar voters are bound to love “The Shape of Water”. For like “La La Land” last year, the film is (rather surprisingly for me) another love letter to Hollywood’s golden years, with Elisa and Giles living out their lives with classic movie music and dance numbers: a medium that Elisa only ever truly finds here “voice” through.
Eliza and Zelda about to give two fingers to the establishment.
In the technical categories the Oscar nominations were for Cinematography (Dan Laustsen); Film Editing (Sidney Wolinsky); Sound Editing (Nathan Robitaille and Nelson Ferreira); Sound Mixing (Glen Gauthier, Christian Cooke and Brad Zoern); Production Design (Paul D. Austerberry, Jeffrey A. Melvin and Shane Vieau); Original Score (Alexandre Desplat) and Costume Design (Luis Sequeira). And you really wouldn’t want to bet against any of these not to win, for the film is a technical delight. Right from the dreamlike opening titles (arguably, they missed a deserved nomination here for Visual Effects), the film is gorgeous to look at, with such brilliant detail in the production design that there is interesting stuff to look at in every frame. And the film editing is extraordinary: Elisa wobbles on the bucket she’s standing on, but it’s Strickland’s butt, perched on a table, that slips off. This is a film that deserves multiple repeat viewings.
The monster feeding the monster. Nick Searcy as General Hoyt with Strickland (Michael Shannon).
An the helm is the multi-talented Guillermo del Toro (“Pacific Rim”, “Crimson Peak”) who both directed and co-wrote the exceptionally smart screenplay (with Vanessa Taylor, “Divergent”) and is nominated for both. I actually found the story to be rather predictable, as regards Elisa’s story arc, but that in no way reduced my enjoyment of the film. For the “original screenplay” is nothing if not “original”…. it’s witty, intelligent and shocking at different turns.
The violence and sex won’t be for everyone… but this is a deep and rich movie experience that everyone who loves the movies should at least appreciate… hopefully in a dry cinema!