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Bob Mann (459 KP) rated The Many Saints of Newark (2021) in Movies
Oct 5, 2021
Production design (1 more)
Great cast
Sopranos prequel that failed to hit the high note with this Sopranos virgin.
With Bond showing on virtually every screen of my local Cineworld, there were few other choices for movies to go see this week. So even though I've never seen "The Sopranos" TV series, I decided to give this movie prequel a shot.
Positives:
- Like any good mafia story, there's a nicely developed sense of place for the action. The film is set in the late 60's / early 70's, and the score and the production design nicely portray the period. The rise of black factions to challenge the white status quo, even in the crime world, make this a nice companion piece to "Judas and the Black Messiah" .
- Although he's been in films like "American Hustle" and "Selma", I wouldn't have been able to pick Alessandro Nivola out of a line-up. But he did a great job portraying the different sides of Dickie: both caring uncle and psychopathic gangster. And Odom Jnr is again impressive: I've not yet seen him deliver any role that's been sub-par.
- It's also impressive that they had Michael Gandolfini to play the younger self of his late father's role. Although I kept being distracted by how much he looks and acts like a young John Cusack!
Negatives:
- The story is told over many years and the script came across as quite uneven. There are regular cut-aways to Dickie visiting his uncle "Hollywood Dick" (Ray Liotta) in prison, which a lot of the time, to me, felt disconnected from the main plot.
- Whilst most of the ensemble cast do a good job, some of the portrayals felt like forced caricatures of "Goodfellas" characters.
- As a "Sopranos" virgin, I could tell that there were lots of Easter Eggs and in-jokes in the movie (e.g. The baby Christopher crying whenever Anthony talked to him). WIth "Sopranos" regulars Alan Taylor and David Chase in charge, that's not surprising. But I'm afraid all of these went right over my head.
Summary Thoughts on "The Many Saints of Newark": This wasn't a complete bust for me, which it might have been if it had been a sequel rather than a prequel. Indeed there are the occasional flashes of brilliance with certain scenes. But neither did I find it so engrossing that it's going to trouble my top 20 for the year.
I guess is that if you are a "Sopranos" fan, then you would get a lot more out of this than I did. But it's still an interesting way to spend a couple of hours.
(For the full graphical review, please check out #oemannsmovies on the web, Facebook or Tiktok. Thanks.)
Positives:
- Like any good mafia story, there's a nicely developed sense of place for the action. The film is set in the late 60's / early 70's, and the score and the production design nicely portray the period. The rise of black factions to challenge the white status quo, even in the crime world, make this a nice companion piece to "Judas and the Black Messiah" .
- Although he's been in films like "American Hustle" and "Selma", I wouldn't have been able to pick Alessandro Nivola out of a line-up. But he did a great job portraying the different sides of Dickie: both caring uncle and psychopathic gangster. And Odom Jnr is again impressive: I've not yet seen him deliver any role that's been sub-par.
- It's also impressive that they had Michael Gandolfini to play the younger self of his late father's role. Although I kept being distracted by how much he looks and acts like a young John Cusack!
Negatives:
- The story is told over many years and the script came across as quite uneven. There are regular cut-aways to Dickie visiting his uncle "Hollywood Dick" (Ray Liotta) in prison, which a lot of the time, to me, felt disconnected from the main plot.
- Whilst most of the ensemble cast do a good job, some of the portrayals felt like forced caricatures of "Goodfellas" characters.
- As a "Sopranos" virgin, I could tell that there were lots of Easter Eggs and in-jokes in the movie (e.g. The baby Christopher crying whenever Anthony talked to him). WIth "Sopranos" regulars Alan Taylor and David Chase in charge, that's not surprising. But I'm afraid all of these went right over my head.
Summary Thoughts on "The Many Saints of Newark": This wasn't a complete bust for me, which it might have been if it had been a sequel rather than a prequel. Indeed there are the occasional flashes of brilliance with certain scenes. But neither did I find it so engrossing that it's going to trouble my top 20 for the year.
I guess is that if you are a "Sopranos" fan, then you would get a lot more out of this than I did. But it's still an interesting way to spend a couple of hours.
(For the full graphical review, please check out #oemannsmovies on the web, Facebook or Tiktok. Thanks.)
BankofMarquis (1832 KP) rated Sisu (2023) in Movies
Dec 4, 2023
Pretty Darned Entertaining
The BankofMarquis stumbled across a Finnish action flick that makes Quentin Tarantino Movies - and the John Wick films - look like Disney movies.
SISU tells the story of the waning days of WWII in Finland where a lone man has left the death and destruction of war behind to live a life of solitude. Into his world come some retreating NAZI’s who (to their detriment, they will soon find out) decide to NOT leave this lone man alone.
Chaos (and violence) ensues.
A variation of the “Man with No Name” type of action film that pits this lone person who just wants to be left alone against a group of thugs, SISU (a Finnish word that has no direct translation but roughly translates to “persevering against tremendous odds”) generates a fun action/revenge flick that is extremely violent…and extremely implausible (but that’s part of the fun).
While this is a Finnish film, all of the actors/characters speak English (except when the Nazi’s speak German), so there is no translating needed.
Jorma Tommila (a veteran Finnish actor that has no U.S. credits that I could find) is stoic, rugged and damned determined as the nameless loner (he gets named about half-way through the film) that perseveres and this is the best part of his performance. His sparkling blue eyes constantly seem active and alive even though the rest of his face is stoic and his body is bruised, bloodied, beaten and mud-covered. His internal resolve shines through in his eyes and really holds the film together well.
Aksel Hennie (who you might know as Alex Vogel one of the Astronauts that is in the ship that turns back to get Matt Damon aka THE MARTIAN) as the Head Nazi is quite good and just as determined to use his men as fodder in his vendetta against the nameless man while Jack Doolan (Horse Tommy in THE BOYS) is ruthless as his main henchman and Mimosa Willamo (the Finnish TV series DEADWIND) is strong and determined as a prisoner held by the Nazis.
Director Jalmari Helander (again, no U.S. credits that I can find) does a wonderful job of keeping the action moving and the choreography of the piece simple (you know where everyone is at all times, so when something comes out of nowhere, you have a pretty good idea as to who/what it is). He does ratchet the violence up to a Tarantino-John Wick- The Equalizer level, so if you are squeamish, this film is not for you.
But, if you are into action films, then…hoo-boy….is SISU a film for you!
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
SISU tells the story of the waning days of WWII in Finland where a lone man has left the death and destruction of war behind to live a life of solitude. Into his world come some retreating NAZI’s who (to their detriment, they will soon find out) decide to NOT leave this lone man alone.
Chaos (and violence) ensues.
A variation of the “Man with No Name” type of action film that pits this lone person who just wants to be left alone against a group of thugs, SISU (a Finnish word that has no direct translation but roughly translates to “persevering against tremendous odds”) generates a fun action/revenge flick that is extremely violent…and extremely implausible (but that’s part of the fun).
While this is a Finnish film, all of the actors/characters speak English (except when the Nazi’s speak German), so there is no translating needed.
Jorma Tommila (a veteran Finnish actor that has no U.S. credits that I could find) is stoic, rugged and damned determined as the nameless loner (he gets named about half-way through the film) that perseveres and this is the best part of his performance. His sparkling blue eyes constantly seem active and alive even though the rest of his face is stoic and his body is bruised, bloodied, beaten and mud-covered. His internal resolve shines through in his eyes and really holds the film together well.
Aksel Hennie (who you might know as Alex Vogel one of the Astronauts that is in the ship that turns back to get Matt Damon aka THE MARTIAN) as the Head Nazi is quite good and just as determined to use his men as fodder in his vendetta against the nameless man while Jack Doolan (Horse Tommy in THE BOYS) is ruthless as his main henchman and Mimosa Willamo (the Finnish TV series DEADWIND) is strong and determined as a prisoner held by the Nazis.
Director Jalmari Helander (again, no U.S. credits that I can find) does a wonderful job of keeping the action moving and the choreography of the piece simple (you know where everyone is at all times, so when something comes out of nowhere, you have a pretty good idea as to who/what it is). He does ratchet the violence up to a Tarantino-John Wick- The Equalizer level, so if you are squeamish, this film is not for you.
But, if you are into action films, then…hoo-boy….is SISU a film for you!
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated Black Widow (2021) in Movies
Jul 8, 2021
An entertaining pose-struck by Johansson and Pugh
A long time in the waiting (again) but "Black Widow" is an excellent addition to the Marvel canon: almost a "Rogue One" in the series, taking us back to fill in some gaps after "Captain America: Civil War". It's just great to have ANY Marvel back in the cinema.... that Michael Giacchino Marvel tune set the hairs going on the back of my neck!
Positives:
- Loving the heart in this Marvel! There's more sense of "family" than in F9! Johansson and Pugh, in particular, have a great on-screen relationship, and nice sisterly bickering goes on. There's a fabulous scene in a petrol (gas) station between the pair that really shows what class acting is available in this outing.
- David Harbour adds some fine comedy as the "Red Guardian", complete with action figure! Seeing him squeezing into his old uniform reminded me strongly of Mr Incredible! And the relationship with Rachel Weisz's Melina is also great fun.
- Completing the strong acting complement is Ray Winstone as villain Dreykov. It's a role he's played so many times before that he could probably do it in his sleep: but still great to watch. A shout-out too to the lovely Olga Kurylenko, looking decidedly unlovely here! (She isn't given very much to do as Taskmaster though.)
- There were some genuinely laugh-out-loud moments for me: both through witty dialogue and visual gags. A helicopter 'landing' was particularly snort-worthy!
- Lorne Balfe delivers another stonking soundtrack, full of Russian undertones. Also great is a twisted version of Nirvana's "Teen Spirit" over the opening titles.
Negatives:
- Now I KNOW you need to suspend belief during Marvel films, but the "Red Room" location (no spoilers, and no - not the "50 Shades" type) stretches that too far. It leads to an over-blown, free-falling finale that somewhat lessened the impact for me of the rather more realistic flow of the movie to that point.
- Tonally the movie is rather inconsistent. As an example, the start of the movie is played 'straight', as is the role of Alexei. But when he reappears later in the film - and it took me a long time to appreciate the jailbird character was in fact him - then he suddenly becomes the comic heart of the movie.
- I loved the way the film built the relationships between the characters. So this is NOT a negative from me. But I *suspect* some Marvel action fans may find the narrative portions of the movie too slow for their liking.
Summary Thoughts on "Black Widow": Black Widow has always struck me as an odd and slightly second-rate member of The Avengers. After all, she has no specific "superpowers", so how has she survived all of the physical abuse to date? So, given what we know happened to her in "Endgame", I questioned whether this was an origin story that would hold much interest with me. But the knack here is that it really isn't an "origin story" at all. It covers her early life, pre-titles, but then skips all the intermediate biopic stuff to drill into this specific adventure in her life. And the quality of the acting and the relationships that are built up delivered something that I greatly enjoyed.
Cate Shortland seems an odd choice to front a huge movie like this (she has a very short movie CV) but I think she's done a great job here. I'd put it in the top quartile of Marvel movies for me.
And BTW, as it's Marvel so as you might expect there is an end credits scene. You have to wait until the very end of the credits for it (so you can appreciate Lorne Balfe's score some more). But it is worth waiting for, re-introducing a character from one of the Phase 4 TV series.
(For the full graphical version, please check out One Mann's Movies on the web here - https://bob-the-movie-man.com/2021/07/07/black-widow-a-posers-guide-to-the-incredibles-3/. One Mann's Movies is also on Facebook and Tiktok (@onemannsmovies).)
Positives:
- Loving the heart in this Marvel! There's more sense of "family" than in F9! Johansson and Pugh, in particular, have a great on-screen relationship, and nice sisterly bickering goes on. There's a fabulous scene in a petrol (gas) station between the pair that really shows what class acting is available in this outing.
- David Harbour adds some fine comedy as the "Red Guardian", complete with action figure! Seeing him squeezing into his old uniform reminded me strongly of Mr Incredible! And the relationship with Rachel Weisz's Melina is also great fun.
- Completing the strong acting complement is Ray Winstone as villain Dreykov. It's a role he's played so many times before that he could probably do it in his sleep: but still great to watch. A shout-out too to the lovely Olga Kurylenko, looking decidedly unlovely here! (She isn't given very much to do as Taskmaster though.)
- There were some genuinely laugh-out-loud moments for me: both through witty dialogue and visual gags. A helicopter 'landing' was particularly snort-worthy!
- Lorne Balfe delivers another stonking soundtrack, full of Russian undertones. Also great is a twisted version of Nirvana's "Teen Spirit" over the opening titles.
Negatives:
- Now I KNOW you need to suspend belief during Marvel films, but the "Red Room" location (no spoilers, and no - not the "50 Shades" type) stretches that too far. It leads to an over-blown, free-falling finale that somewhat lessened the impact for me of the rather more realistic flow of the movie to that point.
- Tonally the movie is rather inconsistent. As an example, the start of the movie is played 'straight', as is the role of Alexei. But when he reappears later in the film - and it took me a long time to appreciate the jailbird character was in fact him - then he suddenly becomes the comic heart of the movie.
- I loved the way the film built the relationships between the characters. So this is NOT a negative from me. But I *suspect* some Marvel action fans may find the narrative portions of the movie too slow for their liking.
Summary Thoughts on "Black Widow": Black Widow has always struck me as an odd and slightly second-rate member of The Avengers. After all, she has no specific "superpowers", so how has she survived all of the physical abuse to date? So, given what we know happened to her in "Endgame", I questioned whether this was an origin story that would hold much interest with me. But the knack here is that it really isn't an "origin story" at all. It covers her early life, pre-titles, but then skips all the intermediate biopic stuff to drill into this specific adventure in her life. And the quality of the acting and the relationships that are built up delivered something that I greatly enjoyed.
Cate Shortland seems an odd choice to front a huge movie like this (she has a very short movie CV) but I think she's done a great job here. I'd put it in the top quartile of Marvel movies for me.
And BTW, as it's Marvel so as you might expect there is an end credits scene. You have to wait until the very end of the credits for it (so you can appreciate Lorne Balfe's score some more). But it is worth waiting for, re-introducing a character from one of the Phase 4 TV series.
(For the full graphical version, please check out One Mann's Movies on the web here - https://bob-the-movie-man.com/2021/07/07/black-widow-a-posers-guide-to-the-incredibles-3/. One Mann's Movies is also on Facebook and Tiktok (@onemannsmovies).)
BankofMarquis (1832 KP) rated Network (1976) in Movies
Feb 9, 2018
All time classic
"I'M MAD AS HELL, AND I'M NOT GOING TO TAKE IT ANYMORE!"
One of the most famous lines in film history is as impactful today as it was when it was first uttered by fictitious news anchor Howard Beale in Paddy Chayefsky's (seemingly) parody of where TV and TV news is heading, 1976's NETWORK.
The astonishing thing about this terrific motion picture is how prescient it is. News is now entertainment. Appeal to the disaffected masses. Drive our message to the viewers. Be provocative. The 6:00 news had "less than 1 minute of hard news, the rest was sex, scandal, brutal crime sports, children with incurable diseases and lost puppies."
Sound familiar? This isn't from today, it came from this movie that was made 42 years ago as a cautionary tale of what might happen.
Besides the social ramifications, how does this film hold up? Quite well, indeed. A rare 10 star BankofMarquis film. Starting with the great Paddy Chayefsky's Oscar winning Screenplay. This was the capper on a brilliant career from Chayefsky - who also won Oscar's for his screenplay for 1972's THE HOSPITAL (I'll have to check that one out) and 1956's MARTY.
What does a terrific screenplay do? It attracts top-level talent clamoring to be in this - and they all deliver. Start with Faye Dunaway who won the Lead Actress Oscar for her role as Entertainment Head Diane Christensen - a driven, work hard, play hard individual who has the idea to make news "entertainment". Lost in the fog of time (and MOMMIE DEAREST) is the fact that in the mid-1970's, Dunaway was, perhaps, the greatest leading actress of the day and her skills are in sharp display in this film.
Joining Dunaway in terrific supporting turns are Robert Duvall, following his turns as Tom Hagen in GODFATHER I and II, as network head, Frank Hackett, Ned Beatty as Ned Jennings, President of the company that owns the network - he has a speech towards the tail end of this film that is as good - both in performance and in the way that it is shot - as anything put upon the screen - it was masterful. Speaking of masterful, Beatrice Straight won the Oscar for Best Supporting Actress in one of the shortest performances to ever win. She is in this film for about 6 minutes in total - but she won her Oscar for a 5 minute scene that is, most definately Oscar-worthy.
And then there are the leading men. William Holden gives one of the last great performances of his extraordinary career as the "voice of reason in this film". He is our everyman caught up in the bizarre, absurd circumstances that evolve around him. It is his effort to try to make sense of this insanity that jumps off the screen. Holden was, deservedly, nominated for a Best Actor in a Leading Role Oscar, but lost (rightfully so) to Peter Finch's turn as crazed newsman turned prophet, Howard Beale. His maniacal (but not over the top) turn is one for the ages. If you do nothing else, see this film for his performance (but there is so, so much more to love here). Unfortunately, Finch passed away from a heart attack in between his Oscar nomination and win, and was the first posthumous winner in an acting role (sadly, Heath Ledger would join this "club" years later).
Finally, enough cannot be said about Sidney Lumet's direction. A movie like this would not succeed without a sure, steady and seasoned hand at the helm - and this is how I would describe Lumet's direction. He lets the camera roll and lets the actors and the screenplay take center stage, not drawing attention away, but adding to the themes of the film throughout - especially in Beatty's speech at the end.
NETWORK was nominated for (but did not win) the Oscar for Best Film of 1976. Did it lose out to other nominees ALL THE PRESIDENT'S MEN or TAXI DRIVER? Nope, it lost to ROCKY.
Let that sink in.
If you get a chance to watch (or rewatch) this film, I highly recommend you do so. For me, it was GREAT to watch this on the big screen with an audience, one of the reasons I love - and will continue to attend - the SECRET CINEMA series of films.
Letter Grade: A+
10 (out of 10) stars and you can take that to the Bank(OfMarquis)
One of the most famous lines in film history is as impactful today as it was when it was first uttered by fictitious news anchor Howard Beale in Paddy Chayefsky's (seemingly) parody of where TV and TV news is heading, 1976's NETWORK.
The astonishing thing about this terrific motion picture is how prescient it is. News is now entertainment. Appeal to the disaffected masses. Drive our message to the viewers. Be provocative. The 6:00 news had "less than 1 minute of hard news, the rest was sex, scandal, brutal crime sports, children with incurable diseases and lost puppies."
Sound familiar? This isn't from today, it came from this movie that was made 42 years ago as a cautionary tale of what might happen.
Besides the social ramifications, how does this film hold up? Quite well, indeed. A rare 10 star BankofMarquis film. Starting with the great Paddy Chayefsky's Oscar winning Screenplay. This was the capper on a brilliant career from Chayefsky - who also won Oscar's for his screenplay for 1972's THE HOSPITAL (I'll have to check that one out) and 1956's MARTY.
What does a terrific screenplay do? It attracts top-level talent clamoring to be in this - and they all deliver. Start with Faye Dunaway who won the Lead Actress Oscar for her role as Entertainment Head Diane Christensen - a driven, work hard, play hard individual who has the idea to make news "entertainment". Lost in the fog of time (and MOMMIE DEAREST) is the fact that in the mid-1970's, Dunaway was, perhaps, the greatest leading actress of the day and her skills are in sharp display in this film.
Joining Dunaway in terrific supporting turns are Robert Duvall, following his turns as Tom Hagen in GODFATHER I and II, as network head, Frank Hackett, Ned Beatty as Ned Jennings, President of the company that owns the network - he has a speech towards the tail end of this film that is as good - both in performance and in the way that it is shot - as anything put upon the screen - it was masterful. Speaking of masterful, Beatrice Straight won the Oscar for Best Supporting Actress in one of the shortest performances to ever win. She is in this film for about 6 minutes in total - but she won her Oscar for a 5 minute scene that is, most definately Oscar-worthy.
And then there are the leading men. William Holden gives one of the last great performances of his extraordinary career as the "voice of reason in this film". He is our everyman caught up in the bizarre, absurd circumstances that evolve around him. It is his effort to try to make sense of this insanity that jumps off the screen. Holden was, deservedly, nominated for a Best Actor in a Leading Role Oscar, but lost (rightfully so) to Peter Finch's turn as crazed newsman turned prophet, Howard Beale. His maniacal (but not over the top) turn is one for the ages. If you do nothing else, see this film for his performance (but there is so, so much more to love here). Unfortunately, Finch passed away from a heart attack in between his Oscar nomination and win, and was the first posthumous winner in an acting role (sadly, Heath Ledger would join this "club" years later).
Finally, enough cannot be said about Sidney Lumet's direction. A movie like this would not succeed without a sure, steady and seasoned hand at the helm - and this is how I would describe Lumet's direction. He lets the camera roll and lets the actors and the screenplay take center stage, not drawing attention away, but adding to the themes of the film throughout - especially in Beatty's speech at the end.
NETWORK was nominated for (but did not win) the Oscar for Best Film of 1976. Did it lose out to other nominees ALL THE PRESIDENT'S MEN or TAXI DRIVER? Nope, it lost to ROCKY.
Let that sink in.
If you get a chance to watch (or rewatch) this film, I highly recommend you do so. For me, it was GREAT to watch this on the big screen with an audience, one of the reasons I love - and will continue to attend - the SECRET CINEMA series of films.
Letter Grade: A+
10 (out of 10) stars and you can take that to the Bank(OfMarquis)
Gareth von Kallenbach (971 KP) rated The Addams Family (2019) in Movies
Oct 13, 2019
“They’re creepy and they’re kooky, Mysterious and spooky, They’re all together ooky, The Addams family…” a theme song that everyone aged five to ninety-five seem to know the words to. It’s amazing to think that a show that first aired in 1964 and only ran for two seasons could continue to have the impact that it does fifty-five years later. Let that sink in for just a couple of minutes, for reference the Apollo 11 moon landing occurred in 1969 almost three years after the show’s end date. To simply say that the Addams Family has made a cultural impact on our society is a bit of an understatement, so how would the first animated full-length movie treat these cultural icons?
The Addams Family is an origin story of sorts for everyone’s favorite kooky family. Gomez Addams (Oscar Isaac) and Morticia (Charlize Theron) are rudely interrupted during their wedding ceremony by a bunch of angry villagers carrying pitchforks. While this is a little cliché’ it sets the tone for the interaction between the Addams family and how they are perceived by “normal” folks. Morticia longs for a place where they can live in peace away from those who wish to disturb their lives. On a long and windy road in New Jersey, fate appears in the form of Lurch (Conrad Vernon) as he bounces off the hood of their car. In the distance, as lightning strikes, they peer up a mountain side to see an abandoned, haunted insane asylum. The perfect place to raise a family away from the peering eyes of the rest of the world.
For thirteen years the Addams Family lives in relative seclusion with their two young children, Wednesday (Chloë Grace Moretz) and Pugsley (Finn Wolfhard). Neither of the children are allowed to leave the Asylum grounds and know of nothing outside the cold iron gates. One day, the swamp is drained, the clouds part and the Addams Family life of seclusion comes to an abrupt end. Down in the valley the town of Assimilation, a town that as its name suggests was built by famous HAG TV designer Margaux Needler (Allison Janney). The asylum (and its inhabitants) do not “fit-in” with the designer’s vision and kookiness ensues as she attempts to make-over (and take-over) the family’s home.
Visually The Addams Family reminds me of several Tim Burton classics albeit with a more colorful palette. Each member of the family is a caricature of their infamous selves and stylistically imbues the spooky, ooky, kookiest versions we would expect. Backed by an incredible amount of supporting voice talent such as Bette Midler, Martin Short, and Snoop-Dog as everyone’s favorite fuzzy cousin…It, it’s a star-studded event that even the most die-hard Addams Family purist will enjoy.
The story goes through typical tropes that we’ve seen played out a thousand times already. A misunderstood family is misjudged by their neighbors, only to come together in the end. It’s a story about celebrating our differences and learning to appreciate what makes each of us unique. In a world of social media, cell phones and television shows that try to make us all conform, it teaches us that while people may look and act different than us, they all bring something special to the table. It’s this light-heartedness and sweet story telling which while not unique is something that I feel we need more of in the world today.
The Addams Family is a film for the entire family, there is light-hearted violence, but all done in jest with no one ever getting hurt. While it doesn’t bring anything unexpected to the table, its still enjoyable and a film that doesn’t ever attempt to take itself seriously. It won’t win any best picture awards, and likely will become another 30 days of Halloween past-time when it makes its way to television, it is still one that will leave you with a smile on your face long after it is over. The experience you get from it, will likely be based on the audience reaction to the film. In the theater I was in, there was lots of laughter, snapping and even a sing-along at the end. It’s a movie to see with other people, and even if you aren’t a fan of the TV series, it will still offer you something. Sometimes a simple movie, with a simple message, is exactly the escape we need from everything in the world today. The Addams Family makes a perfect escape for the entire family this Halloween Season.
3.5 out of 5 stars
http://sknr.net/2019/10/10/the-addams-family/
The Addams Family is an origin story of sorts for everyone’s favorite kooky family. Gomez Addams (Oscar Isaac) and Morticia (Charlize Theron) are rudely interrupted during their wedding ceremony by a bunch of angry villagers carrying pitchforks. While this is a little cliché’ it sets the tone for the interaction between the Addams family and how they are perceived by “normal” folks. Morticia longs for a place where they can live in peace away from those who wish to disturb their lives. On a long and windy road in New Jersey, fate appears in the form of Lurch (Conrad Vernon) as he bounces off the hood of their car. In the distance, as lightning strikes, they peer up a mountain side to see an abandoned, haunted insane asylum. The perfect place to raise a family away from the peering eyes of the rest of the world.
For thirteen years the Addams Family lives in relative seclusion with their two young children, Wednesday (Chloë Grace Moretz) and Pugsley (Finn Wolfhard). Neither of the children are allowed to leave the Asylum grounds and know of nothing outside the cold iron gates. One day, the swamp is drained, the clouds part and the Addams Family life of seclusion comes to an abrupt end. Down in the valley the town of Assimilation, a town that as its name suggests was built by famous HAG TV designer Margaux Needler (Allison Janney). The asylum (and its inhabitants) do not “fit-in” with the designer’s vision and kookiness ensues as she attempts to make-over (and take-over) the family’s home.
Visually The Addams Family reminds me of several Tim Burton classics albeit with a more colorful palette. Each member of the family is a caricature of their infamous selves and stylistically imbues the spooky, ooky, kookiest versions we would expect. Backed by an incredible amount of supporting voice talent such as Bette Midler, Martin Short, and Snoop-Dog as everyone’s favorite fuzzy cousin…It, it’s a star-studded event that even the most die-hard Addams Family purist will enjoy.
The story goes through typical tropes that we’ve seen played out a thousand times already. A misunderstood family is misjudged by their neighbors, only to come together in the end. It’s a story about celebrating our differences and learning to appreciate what makes each of us unique. In a world of social media, cell phones and television shows that try to make us all conform, it teaches us that while people may look and act different than us, they all bring something special to the table. It’s this light-heartedness and sweet story telling which while not unique is something that I feel we need more of in the world today.
The Addams Family is a film for the entire family, there is light-hearted violence, but all done in jest with no one ever getting hurt. While it doesn’t bring anything unexpected to the table, its still enjoyable and a film that doesn’t ever attempt to take itself seriously. It won’t win any best picture awards, and likely will become another 30 days of Halloween past-time when it makes its way to television, it is still one that will leave you with a smile on your face long after it is over. The experience you get from it, will likely be based on the audience reaction to the film. In the theater I was in, there was lots of laughter, snapping and even a sing-along at the end. It’s a movie to see with other people, and even if you aren’t a fan of the TV series, it will still offer you something. Sometimes a simple movie, with a simple message, is exactly the escape we need from everything in the world today. The Addams Family makes a perfect escape for the entire family this Halloween Season.
3.5 out of 5 stars
http://sknr.net/2019/10/10/the-addams-family/
Gareth von Kallenbach (971 KP) rated The Lighthouse (2019) in Movies
Oct 24, 2019
Growing up I remember watching Alfred Hitchcock Presents on USA network and catching the occasional twilight zone on the weekends. In fact, it’s hard to believe that our second TV was a small black and white 13” TV that we would watch all types of shows on when our living room TV was otherwise preoccupied. While all these shows were only available in black and white, they still portrayed a frightening imagery that likely would lose a lot of their suspense if the show had been presented in color. The Lighthouse, the second feature directed by Robert Eggers (The Witch) utilizes not only a black and white picture to build on the dread of loneliness the film wishes to convey, but also presents itself in a boxy format, to better mimic silent films of a bygone era.
The Lighthouse features Willem Dafoe as Thomas Wake, a grizzled old lighthouse keeper who begins his four-week duty on a secluded lighthouse with Ephraim Winslow (Robert Pattinson), a man who has never worked a lighthouse in his young life. Thomas a former seaman who longs for his time back on the waves directs Ephraim around in his duties as one would expect from an experienced sea captain, teaching Ephraim the way of a lighthouse keeper. One rule that Ephraim must obey is that no one manages the light except Thomas, and no one may look upon its glory except Thomas. Reluctant to obey but not wishing to lose his pay Ephraim obliges and the two spend four weeks managing their duties as best as they can.
It’s after the four weeks, when their relief fails to arrive, that things begin to go off the rails. It is here where the secrets begin to emerge, and the audience is left to wonder whether these two will ever make it off the island. It’s here where the film begins to intensify as the struggle for survival with dwindling supplies, and the effects of loneliness and solitude begin to rear its ugly head. Where each mans sanity will be tested and the bond, they have built over the past four weeks will be put to the test.
The Lighthouse is a movie that is difficult to put into any one genre. Much of the movie plays out like a drama, where the old man and the newcomer work to overcome their differences as one mentors the other. The movie always has an underlying sense of dread, wondering what will come next. As the film progresses, the genre changes, and the suspense and horror begin to develop. What was a job where each man understood their roles becomes a race for survival. The questions begin to mount as we see the characters relationship morph and change. Why did Ephraim choose a life of solitude so far from civilization?
Why doesn’t Thomas allow anyone to man the light but him? What is each men hiding from one another?
William Dafoe does another outstanding job as the gruff, old lighthouse keeper. His accent, mannerisms and evening toasts all are performed with such authenticity that it’s hard to distinguish the actor from the character.
The real surprise was the performance of Robert Pattinson who is best known for his previous works on the Twilight series. He brings so much character to the screen that I would have had a hard time recognizing him if I didn’t know he was in the movie. He delivers a performance that is likely to garner Oscar buzz, something that wouldn’t surprise fans of William Dafoe, but might shock fans of Robert Pattinson. Robert Pattinson in this role is by far the best performance he’s ever done in his career and all, including his most devoted fans, will be pleasantly surprised by his performance in this film.
As I discussed in the opening paragraph, some films and shows play best to the medium that they are recorded on. Much like the old Alfred Hitchcock movies/shows, The Lighthouse benefits from its use of black and white and its boxy presentation. While there is certainly plenty of dialog throughout, it still takes on a very “silent movie” feel. One that you could almost expect to see placards of dialog appear instead of the actual words coming out on the screen. It is this stunning use of the above that truly brings The Lighthouse alive, and if done in color would have lost much of its personality in the process.
There is a ton of imagery and symbolism which I’m sure will be argued about on numerous Reddit posts for the next few days and weeks to come. I won’t pretend to understand much of it, and I believe that Eggers leaves many of what we see open for interpretation. Everything from the lighthouse itself, to the seagulls, to the mermaids (yes you read that correctly) all are open for discussion. After watching it I couldn’t help but wonder what the discussion of this particular film would have led to in my theater appreciation course back in college. That’s not to say that you can’t simply sit back and enjoy it for what it is, I just think its far more beneficial to think of what was seen and try to understand the meaning of it all.
The Lighthouse isn’t a movie that will appeal to everyone. For those who want a scary and suspenseful movie, it would be difficult to recommend.
While it certainly has suspense, it suspenseful in the way of an old Twilight Zone or Alfred Hitchcock movie, as opposed to something more recent like Paranormal Activity. The black and white video and the odd boxy aspect ratio may turn off a lot of folks as well, although I certainly don’t see it being as fascinating if it was done in any other way. There is a lot to love in this movie, and the character portrayals deserve the Oscar buzz that is certainly right around the corner. It’s a movie that is far easier to experience then to explain in a review, so I encourage those with even a little bit of curiosity to take the plunge and experience it for yourself.
The Lighthouse features Willem Dafoe as Thomas Wake, a grizzled old lighthouse keeper who begins his four-week duty on a secluded lighthouse with Ephraim Winslow (Robert Pattinson), a man who has never worked a lighthouse in his young life. Thomas a former seaman who longs for his time back on the waves directs Ephraim around in his duties as one would expect from an experienced sea captain, teaching Ephraim the way of a lighthouse keeper. One rule that Ephraim must obey is that no one manages the light except Thomas, and no one may look upon its glory except Thomas. Reluctant to obey but not wishing to lose his pay Ephraim obliges and the two spend four weeks managing their duties as best as they can.
It’s after the four weeks, when their relief fails to arrive, that things begin to go off the rails. It is here where the secrets begin to emerge, and the audience is left to wonder whether these two will ever make it off the island. It’s here where the film begins to intensify as the struggle for survival with dwindling supplies, and the effects of loneliness and solitude begin to rear its ugly head. Where each mans sanity will be tested and the bond, they have built over the past four weeks will be put to the test.
The Lighthouse is a movie that is difficult to put into any one genre. Much of the movie plays out like a drama, where the old man and the newcomer work to overcome their differences as one mentors the other. The movie always has an underlying sense of dread, wondering what will come next. As the film progresses, the genre changes, and the suspense and horror begin to develop. What was a job where each man understood their roles becomes a race for survival. The questions begin to mount as we see the characters relationship morph and change. Why did Ephraim choose a life of solitude so far from civilization?
Why doesn’t Thomas allow anyone to man the light but him? What is each men hiding from one another?
William Dafoe does another outstanding job as the gruff, old lighthouse keeper. His accent, mannerisms and evening toasts all are performed with such authenticity that it’s hard to distinguish the actor from the character.
The real surprise was the performance of Robert Pattinson who is best known for his previous works on the Twilight series. He brings so much character to the screen that I would have had a hard time recognizing him if I didn’t know he was in the movie. He delivers a performance that is likely to garner Oscar buzz, something that wouldn’t surprise fans of William Dafoe, but might shock fans of Robert Pattinson. Robert Pattinson in this role is by far the best performance he’s ever done in his career and all, including his most devoted fans, will be pleasantly surprised by his performance in this film.
As I discussed in the opening paragraph, some films and shows play best to the medium that they are recorded on. Much like the old Alfred Hitchcock movies/shows, The Lighthouse benefits from its use of black and white and its boxy presentation. While there is certainly plenty of dialog throughout, it still takes on a very “silent movie” feel. One that you could almost expect to see placards of dialog appear instead of the actual words coming out on the screen. It is this stunning use of the above that truly brings The Lighthouse alive, and if done in color would have lost much of its personality in the process.
There is a ton of imagery and symbolism which I’m sure will be argued about on numerous Reddit posts for the next few days and weeks to come. I won’t pretend to understand much of it, and I believe that Eggers leaves many of what we see open for interpretation. Everything from the lighthouse itself, to the seagulls, to the mermaids (yes you read that correctly) all are open for discussion. After watching it I couldn’t help but wonder what the discussion of this particular film would have led to in my theater appreciation course back in college. That’s not to say that you can’t simply sit back and enjoy it for what it is, I just think its far more beneficial to think of what was seen and try to understand the meaning of it all.
The Lighthouse isn’t a movie that will appeal to everyone. For those who want a scary and suspenseful movie, it would be difficult to recommend.
While it certainly has suspense, it suspenseful in the way of an old Twilight Zone or Alfred Hitchcock movie, as opposed to something more recent like Paranormal Activity. The black and white video and the odd boxy aspect ratio may turn off a lot of folks as well, although I certainly don’t see it being as fascinating if it was done in any other way. There is a lot to love in this movie, and the character portrayals deserve the Oscar buzz that is certainly right around the corner. It’s a movie that is far easier to experience then to explain in a review, so I encourage those with even a little bit of curiosity to take the plunge and experience it for yourself.
BBC Drama
This eBook was provided by the publisher via NetGalley in exchange for an honest review
Many people in Britain may have recently watched the drama series Our Zoo on BBC1 about the Mottershead family who moved to Oakfield, Upton in 1930 with the aim of building a zoo without bars. Based on a true story the drama over exaggerated the difficulties the family faced in developing what became to be the famous Chester Zoo. Until 2010 when TV producer Adam Kemp approached her, June Mottershead had never thought about making her history available to the public. As the truth had to be bent slightly for the television production with the removal of certain characters and added romance, and, of course, the laws preventing chimpanzees from being filmed, June Mottershead has penned the true story, also called Our Zoo, which is just as fascinating as what was shown on screen.
June was only four when she moved to Upton with her parents, grandparents, and her fourteen-year-old sister Muriel as well as a selection of animals. The BBC1 drama only showed up until the point that her father, George, had finally been given permission to build his zoo despite the petition against it. In the book, however, this occurs within the first few chapters and then continues on until June’s marriage to her husband Fred Williams in 1949. In fact the time period of the narrative jumps around depending on the animals or events that June is describing.
A large chunk of the book is focused on the effect the Second World War had on the zoo. As can be expected the rationings of vital products took its toll on the animals’ diets and, although the zoo never took a direct hit, the Liverpool blitz caused havoc by destroying the glass tanks in the aquarium. On the other hand, the amount of animals rapidly grew, as it was not just humans that became refugees during the war.
It was a delight to read about June’s relationships with some of the animals, particularly Mary the chimpanzee who was also June’s best friend as a child and behaved in a humanlike manner. Alas, as well as the happy moments there were the inevitable upsetting accounts of the deaths some of the animals, either from old age, illness or accidents.
While Our Zoo cannot be described as a novel, it neither has the feel of an autobiography. The conversational tone of the writing made it a pleasure to read and easy to visualize (admittedly watching the televised version had already provided a certain image).
This easy to read book is a strong recommendation for those who enjoyed the BBC adaptation and wish to find out what happened next. It does not matter if you have not watched the drama, as it is overall a fascinating story to read.
Many people in Britain may have recently watched the drama series Our Zoo on BBC1 about the Mottershead family who moved to Oakfield, Upton in 1930 with the aim of building a zoo without bars. Based on a true story the drama over exaggerated the difficulties the family faced in developing what became to be the famous Chester Zoo. Until 2010 when TV producer Adam Kemp approached her, June Mottershead had never thought about making her history available to the public. As the truth had to be bent slightly for the television production with the removal of certain characters and added romance, and, of course, the laws preventing chimpanzees from being filmed, June Mottershead has penned the true story, also called Our Zoo, which is just as fascinating as what was shown on screen.
June was only four when she moved to Upton with her parents, grandparents, and her fourteen-year-old sister Muriel as well as a selection of animals. The BBC1 drama only showed up until the point that her father, George, had finally been given permission to build his zoo despite the petition against it. In the book, however, this occurs within the first few chapters and then continues on until June’s marriage to her husband Fred Williams in 1949. In fact the time period of the narrative jumps around depending on the animals or events that June is describing.
A large chunk of the book is focused on the effect the Second World War had on the zoo. As can be expected the rationings of vital products took its toll on the animals’ diets and, although the zoo never took a direct hit, the Liverpool blitz caused havoc by destroying the glass tanks in the aquarium. On the other hand, the amount of animals rapidly grew, as it was not just humans that became refugees during the war.
It was a delight to read about June’s relationships with some of the animals, particularly Mary the chimpanzee who was also June’s best friend as a child and behaved in a humanlike manner. Alas, as well as the happy moments there were the inevitable upsetting accounts of the deaths some of the animals, either from old age, illness or accidents.
While Our Zoo cannot be described as a novel, it neither has the feel of an autobiography. The conversational tone of the writing made it a pleasure to read and easy to visualize (admittedly watching the televised version had already provided a certain image).
This easy to read book is a strong recommendation for those who enjoyed the BBC adaptation and wish to find out what happened next. It does not matter if you have not watched the drama, as it is overall a fascinating story to read.
Kristy H (1252 KP) rated The In Between in Books
Feb 1, 2018
I confess that this book was not exactly what I was expecting. The novel appears to tell a typical tale of YA love, but it also spends much of its time in a paranormal, mystical world of the "In Between." It's very odd and I wasn't expecting so much talk of Heaven and Hell, despite the hint from the title.
The story follows Tara Jenkins and Justin Westcroft. Friends as children, they become close again after Tara saves Justin's life, when he nearly drowns in an accident at the public beach. Now in high school, Justin is a popular soccer star, while Tara is just a "regular gal." Tara and Justin quickly fall madly in love and become each other's world.
Part of my issue with this book is just that - Tara and Justin are in high school and the entire book centers on their "great romance" and the idea that they are made for each other, destined for all eternity. Some people pull it off, even if it's a cheesy YA series like Twilight. You find yourself rooting for Bella and Edward. Here... I don't know. Pierce's characters just aren't well-developed enough. I like Tara, but I'm not fully invested in her. I actually cared for Justin a bit more (he seemed to have more of a head on his shoulders), but I don't get to learn enough about him, or really get to know him enough as I read the novel. Instead, you are just left wondering why two young kids are so in love and so convinced, at this age, that they are meant for each other. Instead of falling for their love story, it seems like a Made for TV Special.
Once Justin actually dies (and I'm not giving anything away, the book's summary is forthright in telling you that Tara can't save Justin a second time) and he goes to the "In Between," you find him in this weird mythical, mystical land, and it's just odd. I do feel empathy for Justin as he struggles to get back to Tara, and even for Tara, as she grieves for Justin, but it often feels like two kids playing at being grown up. With the distraction of some weird mystical characters thrown in to boot.
That being said, the book managed to keep my interest. I kept reading, wanting to know what would happen to Justin and Tara. Would they kill them both? Would they be reunited? Surely it wouldn't just end with him stuck here and her still pining away? After all this?! In the end, the ending is rather "pat" and the book just sort of ends.
Come to think of it, this probably *would* make a great Lifetime movie. And I'd no doubt guiltily enjoy it with a box of chocolates.
(Note, I received a free digital copy of The In Between in return for a honest review.)
The story follows Tara Jenkins and Justin Westcroft. Friends as children, they become close again after Tara saves Justin's life, when he nearly drowns in an accident at the public beach. Now in high school, Justin is a popular soccer star, while Tara is just a "regular gal." Tara and Justin quickly fall madly in love and become each other's world.
Part of my issue with this book is just that - Tara and Justin are in high school and the entire book centers on their "great romance" and the idea that they are made for each other, destined for all eternity. Some people pull it off, even if it's a cheesy YA series like Twilight. You find yourself rooting for Bella and Edward. Here... I don't know. Pierce's characters just aren't well-developed enough. I like Tara, but I'm not fully invested in her. I actually cared for Justin a bit more (he seemed to have more of a head on his shoulders), but I don't get to learn enough about him, or really get to know him enough as I read the novel. Instead, you are just left wondering why two young kids are so in love and so convinced, at this age, that they are meant for each other. Instead of falling for their love story, it seems like a Made for TV Special.
Once Justin actually dies (and I'm not giving anything away, the book's summary is forthright in telling you that Tara can't save Justin a second time) and he goes to the "In Between," you find him in this weird mythical, mystical land, and it's just odd. I do feel empathy for Justin as he struggles to get back to Tara, and even for Tara, as she grieves for Justin, but it often feels like two kids playing at being grown up. With the distraction of some weird mystical characters thrown in to boot.
That being said, the book managed to keep my interest. I kept reading, wanting to know what would happen to Justin and Tara. Would they kill them both? Would they be reunited? Surely it wouldn't just end with him stuck here and her still pining away? After all this?! In the end, the ending is rather "pat" and the book just sort of ends.
Come to think of it, this probably *would* make a great Lifetime movie. And I'd no doubt guiltily enjoy it with a box of chocolates.
(Note, I received a free digital copy of The In Between in return for a honest review.)
<i>This eBook was provided by the publisher via NetGalley in exchange for an honest review</i>
Many people in Britain may have recently watched the drama series <i>Our Zoo</i> on BBC1 about the Mottershead family who moved to Oakfield, Upton in 1930 with the aim of building a zoo without bars. Based on a true story the drama over exaggerated the difficulties the family faced in developing what became to be the famous Chester Zoo. Until 2010 when TV producer Adam Kemp approached her, June Mottershead had never thought about making her history available to the public. As the truth had to be bent slightly for the television production with the removal of certain characters and added romance, and, of course, the laws preventing chimpanzees from being filmed, June Mottershead has penned the true story, also called <i>Our Zoo</i>, which is just as fascinating as what was shown on screen.
June was only four when she moved to Upton with her parents, grandparents, and her fourteen-year-old sister Muriel as well as a selection of animals. The BBC1 drama only showed up until the point that her father, George, had finally been given permission to build his zoo despite the petition against it. In the book, however, this occurs within the first few chapters and then continues on until June’s marriage to her husband Fred Williams in 1949. In fact the time period of the narrative jumps around depending on the animals or events that June is describing.
A large chunk of the book is focused on the effect the Second World War had on the zoo. As can be expected the rationings of vital products took its toll on the animals’ diets and, although the zoo never took a direct hit, the Liverpool blitz caused havoc by destroying the glass tanks in the aquarium. On the other hand, the amount of animals rapidly grew, as it was not just humans that became refugees during the war.
It was a delight to read about June’s relationships with some of the animals, particularly Mary the chimpanzee who was also June’s best friend as a child and behaved in a humanlike manner. Alas, as well as the happy moments there were the inevitable upsetting accounts of the deaths some of the animals, either from old age, illness or accidents.
While <i>Our Zoo</i> cannot be described as a novel, it neither has the feel of an autobiography. The conversational tone of the writing made it a pleasure to read and easy to visualize (admittedly watching the televised version had already provided a certain image).
This easy to read book is a strong recommendation for those who enjoyed the BBC adaptation and wish to find out what happened next. It does not matter if you have not watched the drama, as it is overall a fascinating story to read.
Many people in Britain may have recently watched the drama series <i>Our Zoo</i> on BBC1 about the Mottershead family who moved to Oakfield, Upton in 1930 with the aim of building a zoo without bars. Based on a true story the drama over exaggerated the difficulties the family faced in developing what became to be the famous Chester Zoo. Until 2010 when TV producer Adam Kemp approached her, June Mottershead had never thought about making her history available to the public. As the truth had to be bent slightly for the television production with the removal of certain characters and added romance, and, of course, the laws preventing chimpanzees from being filmed, June Mottershead has penned the true story, also called <i>Our Zoo</i>, which is just as fascinating as what was shown on screen.
June was only four when she moved to Upton with her parents, grandparents, and her fourteen-year-old sister Muriel as well as a selection of animals. The BBC1 drama only showed up until the point that her father, George, had finally been given permission to build his zoo despite the petition against it. In the book, however, this occurs within the first few chapters and then continues on until June’s marriage to her husband Fred Williams in 1949. In fact the time period of the narrative jumps around depending on the animals or events that June is describing.
A large chunk of the book is focused on the effect the Second World War had on the zoo. As can be expected the rationings of vital products took its toll on the animals’ diets and, although the zoo never took a direct hit, the Liverpool blitz caused havoc by destroying the glass tanks in the aquarium. On the other hand, the amount of animals rapidly grew, as it was not just humans that became refugees during the war.
It was a delight to read about June’s relationships with some of the animals, particularly Mary the chimpanzee who was also June’s best friend as a child and behaved in a humanlike manner. Alas, as well as the happy moments there were the inevitable upsetting accounts of the deaths some of the animals, either from old age, illness or accidents.
While <i>Our Zoo</i> cannot be described as a novel, it neither has the feel of an autobiography. The conversational tone of the writing made it a pleasure to read and easy to visualize (admittedly watching the televised version had already provided a certain image).
This easy to read book is a strong recommendation for those who enjoyed the BBC adaptation and wish to find out what happened next. It does not matter if you have not watched the drama, as it is overall a fascinating story to read.
Brumpolarbears (22 KP) rated The Hobbit in Tabletop Games
Jun 18, 2019
Delving into Middle-Earth
As Middle Earth fever prepares to take hold once again with talk of a Lord of the Rings inspired TV show, I thought it might be time to take the adventures of Bilbo into the living room in the form of The Hobbit Board Game.
Gathering four of my best companions to join me on the adventure, we settled down for an evening of troll slaying and dragon fighting.
Based on the J.R.R Tolkien book as opposed to the film releases, The Hobbit is a game for 2-5 players which utilises a scorecard system rather than individual player pieces. The aim of the game, kill Smaug and find the treasure – simple enough surely?
When opening the box we were pleasantly surprised by the level of detail of the board as well as some rather beautifully illustrated dwarf cards. A lot of work had gone into these which is why we were a bit surprised by the Bilbo and Smaug figures which were plastic and painted red
Having laid out all of the pieces we then tackled the game instructions, which actually took as long as Bilbo’s journey to the Lonely Mountain. Having passed the instructions around we decided to just play the game and when we came to a segment we weren’t sure about, we would refer back. Despite the initial hiatus, The Hobbit is a rather enjoyable game, however not for unseasoned gamers.
The game is split into four adventures. Players must level up their initiative, cunning, and strength in order to battle goblins, fight wolves and escape elves before confronting Smaug himself. On the way, players will also collect gems which is ultimately the aim of the game as the player with the most is declared the winner at the end.
Each adventure comes with a series of adventure cards which break down into Gifts, Abilities and Travelcards. Gift cards present players with attribute benefits; Abilities assist players with battles; and Travelcards move Bilbo along his adventure. When encountering a battle, players must roll five dice in order to match certain conditions before moving on. Should the conditions not be met, players must draw a Dragon card, which incurs penalties and may result in Smaug moving across the board. Should Smaug reach Laketown, the game is over and the player with the most gems is declared the winner.
Having played the game with four other players we did actually have fun once we got into it and overcame the rather confusing rules. My best advice would be to have someone read the instructions before you and your friends sit down together as it can eat into the evening.
Gathering four of my best companions to join me on the adventure, we settled down for an evening of troll slaying and dragon fighting.
Based on the J.R.R Tolkien book as opposed to the film releases, The Hobbit is a game for 2-5 players which utilises a scorecard system rather than individual player pieces. The aim of the game, kill Smaug and find the treasure – simple enough surely?
When opening the box we were pleasantly surprised by the level of detail of the board as well as some rather beautifully illustrated dwarf cards. A lot of work had gone into these which is why we were a bit surprised by the Bilbo and Smaug figures which were plastic and painted red
Having laid out all of the pieces we then tackled the game instructions, which actually took as long as Bilbo’s journey to the Lonely Mountain. Having passed the instructions around we decided to just play the game and when we came to a segment we weren’t sure about, we would refer back. Despite the initial hiatus, The Hobbit is a rather enjoyable game, however not for unseasoned gamers.
The game is split into four adventures. Players must level up their initiative, cunning, and strength in order to battle goblins, fight wolves and escape elves before confronting Smaug himself. On the way, players will also collect gems which is ultimately the aim of the game as the player with the most is declared the winner at the end.
Each adventure comes with a series of adventure cards which break down into Gifts, Abilities and Travelcards. Gift cards present players with attribute benefits; Abilities assist players with battles; and Travelcards move Bilbo along his adventure. When encountering a battle, players must roll five dice in order to match certain conditions before moving on. Should the conditions not be met, players must draw a Dragon card, which incurs penalties and may result in Smaug moving across the board. Should Smaug reach Laketown, the game is over and the player with the most gems is declared the winner.
Having played the game with four other players we did actually have fun once we got into it and overcame the rather confusing rules. My best advice would be to have someone read the instructions before you and your friends sit down together as it can eat into the evening.