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Movie Metropolis (309 KP) rated The BFG (2016) in Movies
Jun 10, 2019
Spielberg, where are you?
Roald Dahl’s inspiring novels have had a chequered history when it comes to turning them into films. Danny DeVito’s Matilda is widely regarded as one of the best adaptations, with Tim Burton’s Charlie & the Chocolate Factory rendered a monstrosity by fans of the author and movie critics alike.
So when Steven Spielberg was announced as director of The BFG, my personal favourite of all Dahl’s novels, I was equal parts pleased and wary. Could my favourite filmmaker really do this amazing book justice?
Partially is the short answer. Spielberg proves a safe pair of hands as usual, but it lacks his trademark flair, losing the darker, more brooding elements of the source material in the process.
Ten-year-old Sophie (Ruby Barnhill) experiences the adventure of a lifetime when she meets the Big Friendly Giant (Mark Rylance). Naturally scared at first, she soon realizes that the 24-foot behemoth is actually gentle and charming. As their friendship grows, Sophie’s presence attracts the unwanted attention of Bloodbottler, Fleshlumpeater and other giants. After traveling to London, Sophie and the BFG must convince the Queen to help them get rid of all the bad giants once and for all.
Casting wise, The BFG is practically spot on with Mark Rylance being exceptional in the titular role. It was always going to be hard to fill the shoes of David Jason, who tackled the character in the 1989 TV film, but he is perfect; getting the mannerisms and voice down to a tee. The motion capture used to render Rylance’s face onto the giant is breath-taking and some of the best I’ve seen. Elsewhere, Ruby Barnhill certainly has the look of Sophie, but lacks the acting finesse of some child actors.
The cinematography is both beautiful and at times hard to stomach. The opening sequence in which Sophie is taken from her bed to Giant Country is stunning, climaxing in a first-person view of the far-away land. Unfortunately, Spielberg’s avoidance of shaky cam lends an almost video-game feel to the scene that proves nauseating after a few minutes.
The BFG also suffers when both its main characters share a close-up. In particular, when Sophie is being carried by the giant, the motions look continuously jerky and spoil an otherwise impeccably rendered film – you can see where the $140million was spent.
Unfortunately, John Williams’ score lacks any sort of punch and feels sorely out of place in certain parts of the film. This is even more unusual considering the pairing of Spielberg and Williams has given us greats like Jurassic Park, E.T. and Indiana Jones.
Nevertheless, this is a sweet film that children and adults should enjoy. The themes of friendship and loneliness can resonate with all generations and a packed-out cinema proves just what a draw Roald Dahl still is to this day.
Overall, The BFG is everything most families will want from a summer holiday blockbuster. It’s sugary sweet, with great special effects, engaging acting and a wonderful story that follows its source material reasonably well. However, for Spielberg fans, it’s puzzling because the director’s presence feels a little lost. There’s a lot to like, but not a lot to love.
https://moviemetropolis.net/2016/07/28/spielberg-where-are-you-the-bfg-review/
So when Steven Spielberg was announced as director of The BFG, my personal favourite of all Dahl’s novels, I was equal parts pleased and wary. Could my favourite filmmaker really do this amazing book justice?
Partially is the short answer. Spielberg proves a safe pair of hands as usual, but it lacks his trademark flair, losing the darker, more brooding elements of the source material in the process.
Ten-year-old Sophie (Ruby Barnhill) experiences the adventure of a lifetime when she meets the Big Friendly Giant (Mark Rylance). Naturally scared at first, she soon realizes that the 24-foot behemoth is actually gentle and charming. As their friendship grows, Sophie’s presence attracts the unwanted attention of Bloodbottler, Fleshlumpeater and other giants. After traveling to London, Sophie and the BFG must convince the Queen to help them get rid of all the bad giants once and for all.
Casting wise, The BFG is practically spot on with Mark Rylance being exceptional in the titular role. It was always going to be hard to fill the shoes of David Jason, who tackled the character in the 1989 TV film, but he is perfect; getting the mannerisms and voice down to a tee. The motion capture used to render Rylance’s face onto the giant is breath-taking and some of the best I’ve seen. Elsewhere, Ruby Barnhill certainly has the look of Sophie, but lacks the acting finesse of some child actors.
The cinematography is both beautiful and at times hard to stomach. The opening sequence in which Sophie is taken from her bed to Giant Country is stunning, climaxing in a first-person view of the far-away land. Unfortunately, Spielberg’s avoidance of shaky cam lends an almost video-game feel to the scene that proves nauseating after a few minutes.
The BFG also suffers when both its main characters share a close-up. In particular, when Sophie is being carried by the giant, the motions look continuously jerky and spoil an otherwise impeccably rendered film – you can see where the $140million was spent.
Unfortunately, John Williams’ score lacks any sort of punch and feels sorely out of place in certain parts of the film. This is even more unusual considering the pairing of Spielberg and Williams has given us greats like Jurassic Park, E.T. and Indiana Jones.
Nevertheless, this is a sweet film that children and adults should enjoy. The themes of friendship and loneliness can resonate with all generations and a packed-out cinema proves just what a draw Roald Dahl still is to this day.
Overall, The BFG is everything most families will want from a summer holiday blockbuster. It’s sugary sweet, with great special effects, engaging acting and a wonderful story that follows its source material reasonably well. However, for Spielberg fans, it’s puzzling because the director’s presence feels a little lost. There’s a lot to like, but not a lot to love.
https://moviemetropolis.net/2016/07/28/spielberg-where-are-you-the-bfg-review/
BankofMarquis (1832 KP) rated Indiana jones and the dial of destiny (2023) in Movies
Jul 9, 2023
Needed A Spark
Have you ever gone to a live stage play/musical on a Friday or Saturday evening and you can just feel the crackle of excitement and energy in the air and the performers on stage seem to catch that surge of energy and their performances are turned up a notch because of it?
And then, you return to that same theater - for the same show - for a Wednesday matinee and things are just flat. Same show, same performers, same entertainment, but that “spark” just isn’t there?
Such is the case of INDIANA JONES AND THE DIAL OF DESTINY - the Wednesday Matinee performance of an Indiana Jones adventures.
This James Mangold (FORD v FERRARI) Directed Indiana Jones adventure hits all the right notes - chase scenes, fights on a moving train, treasure hunt/quest for an ancient artifact, Indy getting into (and out of) trouble, etc…but Dial of Destiny never quite elevated itself above the norm.
80 year old Harrison Ford (and some stunt doubles and a boatload of de-aging software) is back, of course, as Indiana Jones and it is like pulling on an old, tattered sweatshirt - very comfortable and comforting. He is aided (in a cameo) by John Rhys-Davies’ Sallah (good to see him in an Indy movie again) and by rock solid additions of Antonio Banderas (ZORRO) and good ol’ Toby Jones (INFAMOUS) as colleagues and fellow adventurers as well as an above-average turn by Phoebe Waller-Bridge (TV’s FLEABAG).
These folks fight Nazis (naturally) and a bad guy played by Mads Mikkelsen (ROGUE ONE: A STAR WARS STORY) in an adventure that was “just fine” but “nothing special”, all set to a score by 90 year old John Williams(!). Oh, and don’t forget the welcome appearance of Karen Allen as Marion Ravenswood in what was one of the highlight scenes of the film.
Unfortunately, Mangold never elevates these characters, the chases, the escapes, the call backs to earlier Indiana Jones films above a pleasant warmth of memory, recalling all the good times/grand adventures that Indy has taken the audience on throughout the years. This film needed someone/some THING to help elevate it above the norm.
It needed Steven Spielberg to Direct.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
And then, you return to that same theater - for the same show - for a Wednesday matinee and things are just flat. Same show, same performers, same entertainment, but that “spark” just isn’t there?
Such is the case of INDIANA JONES AND THE DIAL OF DESTINY - the Wednesday Matinee performance of an Indiana Jones adventures.
This James Mangold (FORD v FERRARI) Directed Indiana Jones adventure hits all the right notes - chase scenes, fights on a moving train, treasure hunt/quest for an ancient artifact, Indy getting into (and out of) trouble, etc…but Dial of Destiny never quite elevated itself above the norm.
80 year old Harrison Ford (and some stunt doubles and a boatload of de-aging software) is back, of course, as Indiana Jones and it is like pulling on an old, tattered sweatshirt - very comfortable and comforting. He is aided (in a cameo) by John Rhys-Davies’ Sallah (good to see him in an Indy movie again) and by rock solid additions of Antonio Banderas (ZORRO) and good ol’ Toby Jones (INFAMOUS) as colleagues and fellow adventurers as well as an above-average turn by Phoebe Waller-Bridge (TV’s FLEABAG).
These folks fight Nazis (naturally) and a bad guy played by Mads Mikkelsen (ROGUE ONE: A STAR WARS STORY) in an adventure that was “just fine” but “nothing special”, all set to a score by 90 year old John Williams(!). Oh, and don’t forget the welcome appearance of Karen Allen as Marion Ravenswood in what was one of the highlight scenes of the film.
Unfortunately, Mangold never elevates these characters, the chases, the escapes, the call backs to earlier Indiana Jones films above a pleasant warmth of memory, recalling all the good times/grand adventures that Indy has taken the audience on throughout the years. This film needed someone/some THING to help elevate it above the norm.
It needed Steven Spielberg to Direct.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Movie Metropolis (309 KP) rated Jurassic World (2015) in Movies
Jun 10, 2019
A Trip down memory lane
Can you believe it’s been 14 years since genetically modified dinosaurs rampaged across our screens in Joe Johnston’s underwhelming Jurassic Park III?
After being stuck in development hell for over a decade, Steven Spielberg handpicked indie director Colin Trevorrow to helm the fourth instalment of the popular adventure franchise, Jurassic World, but can it return the much-loved series to form?
Man of the moment Chris Pratt (Guardians of the Galaxy), Bryce Dallas Howard (The Village), Ty Simpkins (Iron Man 3) and Omar Sy (X-Men: Days of Future Past) lead a cast of characters in a visually spectacular film that whilst paying homage to 1993’s Jurassic Park, lacks a little of the original’s soul.
Jurassic World is now a fully functioning theme park taken over from John Hammond’s InGen by Simon Masrani (Irrfan Khan in a pleasingly comedic performance). Welcoming over 20,000 visitors a day, the park sees the need to create something bigger, louder and with more teeth to sustain visitor interest – the Indominus Rex.
Naturally, this doesn’t go quite to plan.
The performances from all of the cast are on-point with Bryce Dallas Howard being a particular highlight. There were worries that her ability would match Tea Leoni from Jurassic Park III rather than Laura Dern’s brilliant Ellie Sattler from the original. Thankfully, this isn’t the case.
Her story arc is particularly intriguing if predictable with her uptight corporate image being shed throughout the film’s succinct 123 minute running time.
Chris Pratt proves why he is the man every director wants to work with. His less comedic side comes out in Jurassic World and proves that he has the acting chops to go with his good looks.
Vincent D’Onofrio stars as the obligatory villain but his side story is never really explored – possibly setting up for a sequel should the film perform well at the box office and with it making up 90% of global ticket sales this weekend, things look promising.
Music wise, Jurassic World treads a very careful path. Make no mistake, this is a standalone movie, but the references to the original are there for all to hear. Michael Giacchino, one of the best composers of the moment, takes over from Don Davis of Jurassic Park III and provides the series with its best score since John Williams’ original.
Special effects too are top notch with the park looking stunning and the dinosaurs, on the whole, faring the same way. There are a couple of moments where things start to look a little video game like, but this never takes away from the beauty of this film.
Unfortunately, whilst the last 30 minutes are breath-taking, edge of your seat stuff, it’s difficult to differentiate Jurassic World from the plethora of high budget blockbusters that litter the cinema these days and whilst Trevorrow chooses references to the original carefully, it lacks a little of that film’s soul and ultimately charm.
Overall, Jurassic World is better than the majority of blockbusters that have come and gone from cinemas over the last year and it tops The Lost World: Jurassic Park and Jurassic Park III to become a sequel worthy of the original.
Yes it’s not perfect, with the gorgeous finale lacking substance, but after waiting 14 years it comes pretty darn close and will no doubt be, along with Star Wars: Episode VII, one of the most memorable films of the noughties.
Do you remember seeing Jurassic Park for the first time? That’s the question everyone asks, and whilst Jurassic World won’t be making anywhere near the same impact, it’s a film worthy of the brand.
https://moviemetropolis.net/2015/06/14/a-trip-down-memory-lane-jurassic-world-review/
After being stuck in development hell for over a decade, Steven Spielberg handpicked indie director Colin Trevorrow to helm the fourth instalment of the popular adventure franchise, Jurassic World, but can it return the much-loved series to form?
Man of the moment Chris Pratt (Guardians of the Galaxy), Bryce Dallas Howard (The Village), Ty Simpkins (Iron Man 3) and Omar Sy (X-Men: Days of Future Past) lead a cast of characters in a visually spectacular film that whilst paying homage to 1993’s Jurassic Park, lacks a little of the original’s soul.
Jurassic World is now a fully functioning theme park taken over from John Hammond’s InGen by Simon Masrani (Irrfan Khan in a pleasingly comedic performance). Welcoming over 20,000 visitors a day, the park sees the need to create something bigger, louder and with more teeth to sustain visitor interest – the Indominus Rex.
Naturally, this doesn’t go quite to plan.
The performances from all of the cast are on-point with Bryce Dallas Howard being a particular highlight. There were worries that her ability would match Tea Leoni from Jurassic Park III rather than Laura Dern’s brilliant Ellie Sattler from the original. Thankfully, this isn’t the case.
Her story arc is particularly intriguing if predictable with her uptight corporate image being shed throughout the film’s succinct 123 minute running time.
Chris Pratt proves why he is the man every director wants to work with. His less comedic side comes out in Jurassic World and proves that he has the acting chops to go with his good looks.
Vincent D’Onofrio stars as the obligatory villain but his side story is never really explored – possibly setting up for a sequel should the film perform well at the box office and with it making up 90% of global ticket sales this weekend, things look promising.
Music wise, Jurassic World treads a very careful path. Make no mistake, this is a standalone movie, but the references to the original are there for all to hear. Michael Giacchino, one of the best composers of the moment, takes over from Don Davis of Jurassic Park III and provides the series with its best score since John Williams’ original.
Special effects too are top notch with the park looking stunning and the dinosaurs, on the whole, faring the same way. There are a couple of moments where things start to look a little video game like, but this never takes away from the beauty of this film.
Unfortunately, whilst the last 30 minutes are breath-taking, edge of your seat stuff, it’s difficult to differentiate Jurassic World from the plethora of high budget blockbusters that litter the cinema these days and whilst Trevorrow chooses references to the original carefully, it lacks a little of that film’s soul and ultimately charm.
Overall, Jurassic World is better than the majority of blockbusters that have come and gone from cinemas over the last year and it tops The Lost World: Jurassic Park and Jurassic Park III to become a sequel worthy of the original.
Yes it’s not perfect, with the gorgeous finale lacking substance, but after waiting 14 years it comes pretty darn close and will no doubt be, along with Star Wars: Episode VII, one of the most memorable films of the noughties.
Do you remember seeing Jurassic Park for the first time? That’s the question everyone asks, and whilst Jurassic World won’t be making anywhere near the same impact, it’s a film worthy of the brand.
https://moviemetropolis.net/2015/06/14/a-trip-down-memory-lane-jurassic-world-review/
Sarah (7798 KP) rated Saving Private Ryan (1998) in Movies
Feb 9, 2021
A classic
Film #14 on the 100 Movies Bucket List: Saving Private Ryan
When I think of war films, I immediately think of Saving Private Ryan. This is partly because I shamefully haven’t seen the majority of the older classic war films (but I may have done by the time I reach the end of this list), and also because this is the first war film I ever saw. I have my dad to thank for introducing me to this, he was obsessed with anything war related, and while I would never admit this to him as a teenager, even back then I could appreciate how brilliant this film was.
Saving Private Ryan is a 1998 World War II epic from Steven Spielberg that follows a group of soldiers as they embark on a mission across France to rescue a man who’s 3 brothers have been killed in action. It stars Tom Hanks as Captain Miller as he leads a host of recognisable faces including Vin Diesel (Caparzo), Barry Pepper (Jackson), Tom Sizemore (Horvath), Giovanni Ribisi (Wade), Edward Burns (Reiben) and Jeremy Davies as Upham as they trek across country to find Matt Damon’s Private Ryan.
The main plot is definitely very Hollywood, but the film itself looks and feels like anything but a glamorous Hollywood blockbuster. This is by far the grittiest, darkest and most horrific war film I’ve seen to date. Spielberg does not shy away from displaying the true horror of war, from the blood and gore of the fighting to the physical and psychological effects it had on the soldiers , it’s all here in all of its horrifying glory. One of the most memorable scenes of any war film is the opening sequence of the D-Day landings, that shows a haunting and frightfully bloody side of the war that no other films have managed to capture in such a dark and emotionally draining manner. Even the opening scene in Arlington Cemetery, especially when paired with a moving score from John Williams, is a tearjerker only a few minutes into the 2.5 hour runtime. I don’t know how factually realistic this whole film is, but it’s definitely one of the most compellingly believable films I’ve ever seen, especially the death scenes.
Visually the cinematography helps with the dark and gritty feeling. Everything looks grey and drab, even hazy at times, and this only helps to promote the overall tone of the film. Admittedly there are parts of this now that do look a little dated and there are a few early scenes with a strange out of place camera flare, but considering it was released 23 years ago, it’s aged pretty well and still looks quite good. It’s helped by a truly stellar cast lead by the ever brilliant Tom Hanks, who’s turn as Captain Miller is hauntingly good. The fact that he didn’t win the Oscar for his performance is criminal. Him alongside the rest of the cast, including memorably brash Brooklynite Reiben (Burns) and God-fearing elite sniper Jackson (Pepper), completely embody the camaraderie, friendship and sometimes hostility shown by the group of men perfectly. My only slight criticism of this film is that after growing to know and like these men over the course of the film, there is a question mark over some of their fates at the end which is a tiny bit disappointing.
Saving Private Ryan won 5 Oscars, including Best Director and Best Cinematography, but was nominated for many others including Best Picture, which in my opinion it deserved far more than the film that won in 1999 (Shakespeare in Love), as this is undoubtedly an all time classic war film.
When I think of war films, I immediately think of Saving Private Ryan. This is partly because I shamefully haven’t seen the majority of the older classic war films (but I may have done by the time I reach the end of this list), and also because this is the first war film I ever saw. I have my dad to thank for introducing me to this, he was obsessed with anything war related, and while I would never admit this to him as a teenager, even back then I could appreciate how brilliant this film was.
Saving Private Ryan is a 1998 World War II epic from Steven Spielberg that follows a group of soldiers as they embark on a mission across France to rescue a man who’s 3 brothers have been killed in action. It stars Tom Hanks as Captain Miller as he leads a host of recognisable faces including Vin Diesel (Caparzo), Barry Pepper (Jackson), Tom Sizemore (Horvath), Giovanni Ribisi (Wade), Edward Burns (Reiben) and Jeremy Davies as Upham as they trek across country to find Matt Damon’s Private Ryan.
The main plot is definitely very Hollywood, but the film itself looks and feels like anything but a glamorous Hollywood blockbuster. This is by far the grittiest, darkest and most horrific war film I’ve seen to date. Spielberg does not shy away from displaying the true horror of war, from the blood and gore of the fighting to the physical and psychological effects it had on the soldiers , it’s all here in all of its horrifying glory. One of the most memorable scenes of any war film is the opening sequence of the D-Day landings, that shows a haunting and frightfully bloody side of the war that no other films have managed to capture in such a dark and emotionally draining manner. Even the opening scene in Arlington Cemetery, especially when paired with a moving score from John Williams, is a tearjerker only a few minutes into the 2.5 hour runtime. I don’t know how factually realistic this whole film is, but it’s definitely one of the most compellingly believable films I’ve ever seen, especially the death scenes.
Visually the cinematography helps with the dark and gritty feeling. Everything looks grey and drab, even hazy at times, and this only helps to promote the overall tone of the film. Admittedly there are parts of this now that do look a little dated and there are a few early scenes with a strange out of place camera flare, but considering it was released 23 years ago, it’s aged pretty well and still looks quite good. It’s helped by a truly stellar cast lead by the ever brilliant Tom Hanks, who’s turn as Captain Miller is hauntingly good. The fact that he didn’t win the Oscar for his performance is criminal. Him alongside the rest of the cast, including memorably brash Brooklynite Reiben (Burns) and God-fearing elite sniper Jackson (Pepper), completely embody the camaraderie, friendship and sometimes hostility shown by the group of men perfectly. My only slight criticism of this film is that after growing to know and like these men over the course of the film, there is a question mark over some of their fates at the end which is a tiny bit disappointing.
Saving Private Ryan won 5 Oscars, including Best Director and Best Cinematography, but was nominated for many others including Best Picture, which in my opinion it deserved far more than the film that won in 1999 (Shakespeare in Love), as this is undoubtedly an all time classic war film.
Gareth von Kallenbach (965 KP) rated Pan (2015) in Movies
Aug 6, 2019
I had mixed emotions when I first saw the trailer for Pan. The story of Peter Pan was one of my all time favorites growing up. Then Steven Spielberg had to go and get Robin Williams and Dustin Hoffman together to bring us Hook, and it solidified the stories of Pan as the best thing since sliced bread for me. So here we have Joe Wright bringing the word put on paper by Jason Fuchs to real life. The story of how Peter came to Neverland; and just how did Captain James T. Hook become so fearful of crocodiles. I was worried, and so I shut it all out. I did not watch any more trailers, clips, or synopsis on the film. But, my curiosity got the best of me, and when we offered the press screening, I jumped at the opportunity to see it. And boy, I am glad I did.
Pan, in case you haven’t figured it out, tells the story of 12-year old orphan Peter (Levi Miller), who is abducted from his orphanage, along with many other little boy orphans, by pirates from Neverland. When they bring Peter to Neverland, he is forced to work in the mines, serving the evil pirate overlord, Black Beard (Hugh Jackman, no seriously. It totally doesn’t even look like him.). It’s not long before some very unusual things start happening to him, and he, along with James T. Hook (Garrett Hedlund), escape the mines to find the natives and Princess Tiger Lily (Rooney Mara), who helps Peter discover his destiny.
Loaded with stunning visuals and a great soundtrack (including some very recognizable songs in the form of pirate chants), Pan nails it in all the right ways. The visionaries who brought this world to life are amazing, and the creativity in every scene is astounding. It was especially charming that the people behind the film kept in mind that it is a family film. While there is some violence, it is an action movie after all, they applied some very interesting effects and theories to use in place of the gore and blood. I also enjoyed, as weird as this sounds, the brightness of the whole movie. They didn’t try to make the film a dark tale of gritty origins. The feel of the story has the same notes of brightness that I remember from the Disney film as a kid, to even Hook in my later years.
And the likenesses do not stop there. It was very fun, and a bit nostalgic, to catch the references and clues of what’s to come. You see things that influence the characters to become who we know and love. And true to the rumors/stories I heard of the background of the beloved Peter Pan tale, Captain Hook and Peter began their time together as friends. The film sets out to do what it was meant to do… tell the story of how Peter and Captain Hook became who they were. But, not all is revealed in this film. When the film is over, and you’ll wish it weren’t, our beloved hero and villain have a long way to go still. So look forward to more films to come.
The only gripe I had with this movie was the acting. And just one part in general. I felt most of the cast was excellent. Jackman portrayed a great, and zany by the standards of the Paniverse (hoping to coin a new term here people, #paniverse), pirate… czar?! I know I used overlord, but it’s hard to say what he is other than he is the captain of captains. Mara played Tiger Lily oh so very well, and Miller held his own right up there with the bigger names. But it was Hedlund I had issue with. His portrayal of James Hook was more reminiscent of Jack Nicholson with elongated words, and an almost creepy like vibe. It’s just not how I imagined him to act, and maybe that is just throwing my perception off. Though, my feeling and view of the portrayal was echoed by my guest at the screening, so there may be something to it. Luckily, my negative view of the acting was not enough to pull me out of the experience, and I was still able to enjoy the movie.
Bottom line. Go see this movie. Take your kids, your partners, your parents, your grandparents, your cousin’s, aunt’s son/daughter… oh wait. That’s you. The point is. It’s definitely worth seeing. The 3D effects were nothing ground breaking, but it would still be worth it to see it in 3D. And this will definitely be in my collection on day 1 of home release.
Pan, in case you haven’t figured it out, tells the story of 12-year old orphan Peter (Levi Miller), who is abducted from his orphanage, along with many other little boy orphans, by pirates from Neverland. When they bring Peter to Neverland, he is forced to work in the mines, serving the evil pirate overlord, Black Beard (Hugh Jackman, no seriously. It totally doesn’t even look like him.). It’s not long before some very unusual things start happening to him, and he, along with James T. Hook (Garrett Hedlund), escape the mines to find the natives and Princess Tiger Lily (Rooney Mara), who helps Peter discover his destiny.
Loaded with stunning visuals and a great soundtrack (including some very recognizable songs in the form of pirate chants), Pan nails it in all the right ways. The visionaries who brought this world to life are amazing, and the creativity in every scene is astounding. It was especially charming that the people behind the film kept in mind that it is a family film. While there is some violence, it is an action movie after all, they applied some very interesting effects and theories to use in place of the gore and blood. I also enjoyed, as weird as this sounds, the brightness of the whole movie. They didn’t try to make the film a dark tale of gritty origins. The feel of the story has the same notes of brightness that I remember from the Disney film as a kid, to even Hook in my later years.
And the likenesses do not stop there. It was very fun, and a bit nostalgic, to catch the references and clues of what’s to come. You see things that influence the characters to become who we know and love. And true to the rumors/stories I heard of the background of the beloved Peter Pan tale, Captain Hook and Peter began their time together as friends. The film sets out to do what it was meant to do… tell the story of how Peter and Captain Hook became who they were. But, not all is revealed in this film. When the film is over, and you’ll wish it weren’t, our beloved hero and villain have a long way to go still. So look forward to more films to come.
The only gripe I had with this movie was the acting. And just one part in general. I felt most of the cast was excellent. Jackman portrayed a great, and zany by the standards of the Paniverse (hoping to coin a new term here people, #paniverse), pirate… czar?! I know I used overlord, but it’s hard to say what he is other than he is the captain of captains. Mara played Tiger Lily oh so very well, and Miller held his own right up there with the bigger names. But it was Hedlund I had issue with. His portrayal of James Hook was more reminiscent of Jack Nicholson with elongated words, and an almost creepy like vibe. It’s just not how I imagined him to act, and maybe that is just throwing my perception off. Though, my feeling and view of the portrayal was echoed by my guest at the screening, so there may be something to it. Luckily, my negative view of the acting was not enough to pull me out of the experience, and I was still able to enjoy the movie.
Bottom line. Go see this movie. Take your kids, your partners, your parents, your grandparents, your cousin’s, aunt’s son/daughter… oh wait. That’s you. The point is. It’s definitely worth seeing. The 3D effects were nothing ground breaking, but it would still be worth it to see it in 3D. And this will definitely be in my collection on day 1 of home release.
Bob Mann (459 KP) rated Spielberg (2017) in Movies
Sep 29, 2021
On making Drew Barrymore cry.
“Spielberg” is an HBO-produced documentary by documentarian Susan Lacy. You’ll never guess who the subject is?!
Steven Spielberg is a product of one of the most surprising revolutions in Hollywood in the late 70’s: one of a set of wunderkind directors alongside such luminaries as George Lucas, Francis Ford Coppola, John Milius, Brian De Palma and Martin Scorcese. These men (only men, it should be noted!) were ready to cock a snook at Hollywood’s traditional studio system to break rules (case in point, Star Wars’ lack of opening credits) and move cinema into the format that would last to this day.
As this excellent documentary makes clear, Spielberg was one of the least rebellious of the movie-brats. Even though (astoundingly) he blagged himself a production office at Universal (after hiding during the Tram Tour toilet stop!), his path to the top was through hard graft on multiple Universal TV shows, after recognition of his talents by Universal exec Sidney Sheinberg who speaks in the film.
Before we get to that stage of his life, we cover his childhood back-story as a reluctant Jew living in a non-Jewish neighbourhood, driven to fill his time with tormenting his sisters and movie-making with a Super 8 camera. Scenes of home videos, photos and his early attempts at special effects are all fascinating. The impact of his Bohemian mother Leah and workaholic father Arnold, and particularly the very surprising relationship breakdown that happened between them, go a long way to explain the constant return to ‘father issues’ in many of his films such as “E.T.”, “Close Encounters of the Third Kind”, “Hook” and “Indiana Jones and the Last Crusade”.
The majority of the film though settles down into a roughly chronological review of the highlights of his movie career, with particular emphasis justly being placed on some of the key watershed moments in that career. Most of his films get at least a mention, but “Jaws”, “E.T.”, “Schindler’s List”, “The Color Purple”, “Jurassic Park”, “Munich” and “Empire of the Sun” get more focus. It is such a wonderful trip down my cinematic memory lane. I also forget just what cinematic majesty and craftsmanship is present in these films: I just hope that at some point this will get a Blu-Ray or DVD release so it can be properly appreciated (rather than viewing it on a tiny airplane screen which is how I watched this): the combination of film clips in here is breathtaking.
As might be expected for a documentary about the great director, there is plenty of ‘behind the camera’ footage on show, some of which is fascinating. Spielberg could always get the very best performances out of the youngsters on set, from Cary Guffey (“Toys!!”) in “Close Encounters” to a heartbreaking scene where he reduces the young Drew Barrymore to howls of emotion in “E.T.”. A master at work.
All of the movie scenes are accompanied by new interview footage from Spielberg himself, as well as warm platitudes from many of the luminaries he has worked with in the past. Directors involved include many of the the directors referenced above, as well as those modern directors influenced by him such as J.J. Abrams; his go-to cinematographers Vilmos Zsigmond and Janusz Kaminski; his ‘go-to’ composer John Williams; and stars including his go-to ‘everyman’ Richard Dreyfuss, Tom Cruise, Harrison Ford, Bob Balaban, Tom Hanks, Opray Winfrey, Leonardo DiCaprio, Christian Bale, Dustin Hoffman and James Brolin. Some of these comments are useful and insightful; some are just fairly meaningless sound bites that add nothing to the film. What all the comments are though is almost all uniformly positive.
And that’s my only criticism of the film. Like me, Susan Lacy is clearly a big fan. It is probably quite hard to find anyone who isn’t…. but perhaps Ms Lacy should have tried a bit harder! There is only limited focus on his big comedy flop of 1979, “1941”, and no mention at all of his lowest WW grossing film “Always”. And there are only a few contributors – notably film critic Janet Maslin – who are willing to stick their head above the parapet and prod into Spielberg’s weaknesses; ostensibly his tendency to veer to the sentimental and away from harder issues: the omitted “Color Purple” ‘mirror scene’ being a case in point.
This is a recommended watch for Spielberg fans. On the eve of the launch of his latest – “Ready Player One”, a film that I am personally dubious about from the trailer – it’s a great insight into the life and works of the great man. It could though have cut a slightly harder and more critical edge.
Steven Spielberg is a product of one of the most surprising revolutions in Hollywood in the late 70’s: one of a set of wunderkind directors alongside such luminaries as George Lucas, Francis Ford Coppola, John Milius, Brian De Palma and Martin Scorcese. These men (only men, it should be noted!) were ready to cock a snook at Hollywood’s traditional studio system to break rules (case in point, Star Wars’ lack of opening credits) and move cinema into the format that would last to this day.
As this excellent documentary makes clear, Spielberg was one of the least rebellious of the movie-brats. Even though (astoundingly) he blagged himself a production office at Universal (after hiding during the Tram Tour toilet stop!), his path to the top was through hard graft on multiple Universal TV shows, after recognition of his talents by Universal exec Sidney Sheinberg who speaks in the film.
Before we get to that stage of his life, we cover his childhood back-story as a reluctant Jew living in a non-Jewish neighbourhood, driven to fill his time with tormenting his sisters and movie-making with a Super 8 camera. Scenes of home videos, photos and his early attempts at special effects are all fascinating. The impact of his Bohemian mother Leah and workaholic father Arnold, and particularly the very surprising relationship breakdown that happened between them, go a long way to explain the constant return to ‘father issues’ in many of his films such as “E.T.”, “Close Encounters of the Third Kind”, “Hook” and “Indiana Jones and the Last Crusade”.
The majority of the film though settles down into a roughly chronological review of the highlights of his movie career, with particular emphasis justly being placed on some of the key watershed moments in that career. Most of his films get at least a mention, but “Jaws”, “E.T.”, “Schindler’s List”, “The Color Purple”, “Jurassic Park”, “Munich” and “Empire of the Sun” get more focus. It is such a wonderful trip down my cinematic memory lane. I also forget just what cinematic majesty and craftsmanship is present in these films: I just hope that at some point this will get a Blu-Ray or DVD release so it can be properly appreciated (rather than viewing it on a tiny airplane screen which is how I watched this): the combination of film clips in here is breathtaking.
As might be expected for a documentary about the great director, there is plenty of ‘behind the camera’ footage on show, some of which is fascinating. Spielberg could always get the very best performances out of the youngsters on set, from Cary Guffey (“Toys!!”) in “Close Encounters” to a heartbreaking scene where he reduces the young Drew Barrymore to howls of emotion in “E.T.”. A master at work.
All of the movie scenes are accompanied by new interview footage from Spielberg himself, as well as warm platitudes from many of the luminaries he has worked with in the past. Directors involved include many of the the directors referenced above, as well as those modern directors influenced by him such as J.J. Abrams; his go-to cinematographers Vilmos Zsigmond and Janusz Kaminski; his ‘go-to’ composer John Williams; and stars including his go-to ‘everyman’ Richard Dreyfuss, Tom Cruise, Harrison Ford, Bob Balaban, Tom Hanks, Opray Winfrey, Leonardo DiCaprio, Christian Bale, Dustin Hoffman and James Brolin. Some of these comments are useful and insightful; some are just fairly meaningless sound bites that add nothing to the film. What all the comments are though is almost all uniformly positive.
And that’s my only criticism of the film. Like me, Susan Lacy is clearly a big fan. It is probably quite hard to find anyone who isn’t…. but perhaps Ms Lacy should have tried a bit harder! There is only limited focus on his big comedy flop of 1979, “1941”, and no mention at all of his lowest WW grossing film “Always”. And there are only a few contributors – notably film critic Janet Maslin – who are willing to stick their head above the parapet and prod into Spielberg’s weaknesses; ostensibly his tendency to veer to the sentimental and away from harder issues: the omitted “Color Purple” ‘mirror scene’ being a case in point.
This is a recommended watch for Spielberg fans. On the eve of the launch of his latest – “Ready Player One”, a film that I am personally dubious about from the trailer – it’s a great insight into the life and works of the great man. It could though have cut a slightly harder and more critical edge.