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Gareth von Kallenbach (980 KP) rated Cloverfield (2008) in Movies
Aug 14, 2019
Shrouded in mystery and riding a wave of fan hype, “Cloverfield” has at last arrived in theaters and delivers the goods. The film is produced by J.J. Abrams who is the mastermind behind “LOST”, “Alias”, “Mission Impossible 3”, and the next “Star Trek Film”. With a pedigree like this, it is clear that Abrams has a clear understanding of what fans want in their action/fantasy and he supplies it in droves.
The film cleverly tells the story through footage from a video camera that has been recovered in what used to be Central Park. The audience informed of this in the opening scenes when a series of coded missives against a Government warning indicates that this footage is now classified.
The footage in the camera is footage of a group of friends preparing a surprise party for their friend Rob (Michael Stahl-David), who is about to go to Japan as part of his new job as a V.P. of his company. The fact that such a young man has raised to such a prestigious position shows that Rob is clearly a motivated young man with a future, and based on the large turnout at his party, a very popular one at that.
Through footage that has been recorded over and pops up occasionally in the film, we learn that Rob and his friend Beth (Odette Yustman) had a recent physical relationship that has caused issues between them due to Rob’s pending departure for Japan. This becomes heated at the party, as amongst the throngs of well wishers, Rob and Beth have a fight that ends with Beth leaving and Rob verbally lashing out at her.
As his brother Jason (Mike Vogel), and best friend Hud (T.J. Miller), try to console Rob, the party is wracked by a sever jolt, that startles everyone in attendance. Thinking it is an earthquake, the guests are informed via television that there has been a platform overturned in the harbor, and before the guests know what hit them, there is an explosion followed by the head of the Statue of Liberty hurling through the streets.
Horrified by the noise and destruction about them, many of the guests as well as the local populace seek to exit the city, and make their way toward bridges out of Manhattan. Things go from bad to worse, and Rob, Hud, Jason, and their friends soon find themselves trapped.
Wracked by guilt over his conversation with Beth, Rob is surprised when she calls him saying that she is injured and trapped, which forces Rob to make a decision, as he and his friends, race back towards the carnage, in an effort to save Beth instead of seeking the safety before them.
Thus the stage is set for one of the more entertaining films of this genre in recent memory. The film moves along briskly, as with a running time of an hour and ten minutes, never becomes dull or overstays its welcome.
The action is intense as Rob and his friends are faced with a world gone mad, as what was once thought to be a terrorist attack goes madly astray when they see a giant creature wrecking havoc on Manhattan despite the best efforts of the military.
The intense action combined with the constant unknown as well as the suspense of the situation helps place the audience into the shoes of the characters, who unlike most genre films, come across as very real characters, despite little attention to their histories. This works very well, as we know what we need to about them as they are clearly close friends who when faced in an amazing situation, support and listen to each other without turning on one another.
Some may question the lack of answers in the film as many of the who, what, when, and why’s of the situation are not clearly explained, but the film works this in, as the audience learns and sees, only what the group of ordinary people see as they flee the streets. Since they are not high ranking military or government types, they are not given the answer, nor do they become fixated on finding them, as they are simply trying to survive.
Since the film is shot from a video camera, there are many scenes that are very herky-jerky, and some people exiting our screener mentioned that they were a bit dizzy from all of the motion. While it was at times difficult, it was also very realistic, and added to the immersion process, as you at times truly felt like you were right at Rob’s side with his friends. I did have to question how the camera, which was on constantly during the ordeal, never lost charge or needed to have the battery replaced, but in fantasy, suspension of belief is often a key criteria to propel the plot.
Much has been speculated as to the creature that is key to the plot of the film as very fan sites have run wild with speculation and claims to have the inside story. While I will not ruin the surprise, I will say that it turns out to be highly effective and engaging, and only adds to the mystery and horror of the situation. Once again, Abrams and company are to be applauded for taking an old formula of a creature on the loose in a large city, and making it fresh and invigorating.
“Cloverfield” is a solid and highly entertaining film, that would stand up with any of the past summer blockbusters and was a very welcome and refreshing way to kick off the 08 movie year, and a nice change from the comedies and dramas that usually dominate theaters this time of year.
The film cleverly tells the story through footage from a video camera that has been recovered in what used to be Central Park. The audience informed of this in the opening scenes when a series of coded missives against a Government warning indicates that this footage is now classified.
The footage in the camera is footage of a group of friends preparing a surprise party for their friend Rob (Michael Stahl-David), who is about to go to Japan as part of his new job as a V.P. of his company. The fact that such a young man has raised to such a prestigious position shows that Rob is clearly a motivated young man with a future, and based on the large turnout at his party, a very popular one at that.
Through footage that has been recorded over and pops up occasionally in the film, we learn that Rob and his friend Beth (Odette Yustman) had a recent physical relationship that has caused issues between them due to Rob’s pending departure for Japan. This becomes heated at the party, as amongst the throngs of well wishers, Rob and Beth have a fight that ends with Beth leaving and Rob verbally lashing out at her.
As his brother Jason (Mike Vogel), and best friend Hud (T.J. Miller), try to console Rob, the party is wracked by a sever jolt, that startles everyone in attendance. Thinking it is an earthquake, the guests are informed via television that there has been a platform overturned in the harbor, and before the guests know what hit them, there is an explosion followed by the head of the Statue of Liberty hurling through the streets.
Horrified by the noise and destruction about them, many of the guests as well as the local populace seek to exit the city, and make their way toward bridges out of Manhattan. Things go from bad to worse, and Rob, Hud, Jason, and their friends soon find themselves trapped.
Wracked by guilt over his conversation with Beth, Rob is surprised when she calls him saying that she is injured and trapped, which forces Rob to make a decision, as he and his friends, race back towards the carnage, in an effort to save Beth instead of seeking the safety before them.
Thus the stage is set for one of the more entertaining films of this genre in recent memory. The film moves along briskly, as with a running time of an hour and ten minutes, never becomes dull or overstays its welcome.
The action is intense as Rob and his friends are faced with a world gone mad, as what was once thought to be a terrorist attack goes madly astray when they see a giant creature wrecking havoc on Manhattan despite the best efforts of the military.
The intense action combined with the constant unknown as well as the suspense of the situation helps place the audience into the shoes of the characters, who unlike most genre films, come across as very real characters, despite little attention to their histories. This works very well, as we know what we need to about them as they are clearly close friends who when faced in an amazing situation, support and listen to each other without turning on one another.
Some may question the lack of answers in the film as many of the who, what, when, and why’s of the situation are not clearly explained, but the film works this in, as the audience learns and sees, only what the group of ordinary people see as they flee the streets. Since they are not high ranking military or government types, they are not given the answer, nor do they become fixated on finding them, as they are simply trying to survive.
Since the film is shot from a video camera, there are many scenes that are very herky-jerky, and some people exiting our screener mentioned that they were a bit dizzy from all of the motion. While it was at times difficult, it was also very realistic, and added to the immersion process, as you at times truly felt like you were right at Rob’s side with his friends. I did have to question how the camera, which was on constantly during the ordeal, never lost charge or needed to have the battery replaced, but in fantasy, suspension of belief is often a key criteria to propel the plot.
Much has been speculated as to the creature that is key to the plot of the film as very fan sites have run wild with speculation and claims to have the inside story. While I will not ruin the surprise, I will say that it turns out to be highly effective and engaging, and only adds to the mystery and horror of the situation. Once again, Abrams and company are to be applauded for taking an old formula of a creature on the loose in a large city, and making it fresh and invigorating.
“Cloverfield” is a solid and highly entertaining film, that would stand up with any of the past summer blockbusters and was a very welcome and refreshing way to kick off the 08 movie year, and a nice change from the comedies and dramas that usually dominate theaters this time of year.
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A lighthearted conversation by trail, road, and ultra runners about their lives as runners and the...
Bob Mann (459 KP) rated Zack Snyder's Justice League (2021) in Movies
Apr 5, 2021
At over 4 hours it's still bloated and sprawling (1 more)
4:3 ratio is a needless gimmick
Does Lipstick on the Pig work?
In Zack Snyder’s much-discussed director’s cut of “Justice League”, Superman (Henry Cavill) is dead (post the events of “Batman v Superman: Dawn of Justice“) and a grieving Lois Lane (Amy Adams) can’t move on. Even Martha Kent (Diane Lane) has had the family farm repossessed. But the world is in deadly danger due to the work of Steppenwolf and his army of parademons. They are trying to reunite three ‘Mother Boxes’, previously hidden on earth. If joined and synchronized they will form ‘The Unity’, creating a gateway for Steppenwolf’s boss – Darkseid – to arrive and control the universe by invoking the “anti-life equation” (basically lockdown 3!).
Only the Justice League’s combined talents might be enough to stop them – but Batman (Ben Affleck) is having trouble in getting Wonder Woman (Gal Gadot), Aquaman (Jason Momoa), Cyborg (Ray Fisher) and The Flash (Ezra Miller) to work together. And even then, they reckon they might be a man short!
Positives:
- Well - it's so much better than the original 2017 version of "Justice League", but then that's not saying much! (I realise that I never did a review for that movie, which I saw on a transatlantic flight - - I put the whole incoherent mess down to my jetlag. But no.... it really was an incoherent mess!).
In the Snyder cut, we gain a much broader introduction to all of the main characters, especially to Barry Allen (the Flash) - in a very entertaining pet shop interview scene - and Victor Stone (Cyborg). And Steppenwolf gets more air time to flesh out his character.
- The story I find very similar to the Marvel equivalent: with Darkseid = Thanos; boxes = stones; Avengers = Justice League! But the story is at least now coherent and flows well. Its action set pieces, especially the ultimate defeat of Steppenwolf (nice decap!), are exciting.
- Some of the distracting scenes (the trapped family in the Russian ruins is a key example) have been excised from this version, making for a significant improvement.
Negatives:
- I'm with Mark Kermode in being a little bit mystified by all of the rave 5* reviews for this one. By anyone's imagination, a run time of 242 minutes is over-indulgent.
- Although the epilogue scene, featuring Jared Leto's Joker and a Batman f-bomb, is entertaining, it actually adds nothing to the exposition and could have been dropped to reduce the bladder-testing run time.
- That 4:3 screen ratio! JUST WHY SNYDER, WHY? There's one scene in particular, where all six members of the Justice League line up in the sunset to dramatic swelling music. The screen ratio forces Snyder to film it at a 60 degree angle to get them all in! "Galaxy Quest" intelligently used three different screen ratios, to great visual effect. So I could perhaps understand it if the 'flashback' scenes had been 4:3 and the rest in 16:9. But as it is, the usage is gimmicky, making (imho) no sense for a big fantasy spectacle like this.
- The Junkie XL (as Thomas Holkenborg) soundtrack I'm afraid did nothing for me.
Summary thoughts:
It's a film, for sure. Is it a watchable film now... hmm, yes just about. And it has scenes which indeed are highly entertaining. But if you follow my One Mann's Movies blog you should know by now my view on movies that extend beyond 90 minutes... they need to justify that delta running time. And by outstaying this target by another 90 minutes... and then by ANOTHER 62 minutes borders on taking the <proverbial>. It's not Shakespeare!
(For the full graphical review, check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/04/04/zack-snyders-justice-league-does-lipstick-on-the-pig-work/).
Only the Justice League’s combined talents might be enough to stop them – but Batman (Ben Affleck) is having trouble in getting Wonder Woman (Gal Gadot), Aquaman (Jason Momoa), Cyborg (Ray Fisher) and The Flash (Ezra Miller) to work together. And even then, they reckon they might be a man short!
Positives:
- Well - it's so much better than the original 2017 version of "Justice League", but then that's not saying much! (I realise that I never did a review for that movie, which I saw on a transatlantic flight - - I put the whole incoherent mess down to my jetlag. But no.... it really was an incoherent mess!).
In the Snyder cut, we gain a much broader introduction to all of the main characters, especially to Barry Allen (the Flash) - in a very entertaining pet shop interview scene - and Victor Stone (Cyborg). And Steppenwolf gets more air time to flesh out his character.
- The story I find very similar to the Marvel equivalent: with Darkseid = Thanos; boxes = stones; Avengers = Justice League! But the story is at least now coherent and flows well. Its action set pieces, especially the ultimate defeat of Steppenwolf (nice decap!), are exciting.
- Some of the distracting scenes (the trapped family in the Russian ruins is a key example) have been excised from this version, making for a significant improvement.
Negatives:
- I'm with Mark Kermode in being a little bit mystified by all of the rave 5* reviews for this one. By anyone's imagination, a run time of 242 minutes is over-indulgent.
- Although the epilogue scene, featuring Jared Leto's Joker and a Batman f-bomb, is entertaining, it actually adds nothing to the exposition and could have been dropped to reduce the bladder-testing run time.
- That 4:3 screen ratio! JUST WHY SNYDER, WHY? There's one scene in particular, where all six members of the Justice League line up in the sunset to dramatic swelling music. The screen ratio forces Snyder to film it at a 60 degree angle to get them all in! "Galaxy Quest" intelligently used three different screen ratios, to great visual effect. So I could perhaps understand it if the 'flashback' scenes had been 4:3 and the rest in 16:9. But as it is, the usage is gimmicky, making (imho) no sense for a big fantasy spectacle like this.
- The Junkie XL (as Thomas Holkenborg) soundtrack I'm afraid did nothing for me.
Summary thoughts:
It's a film, for sure. Is it a watchable film now... hmm, yes just about. And it has scenes which indeed are highly entertaining. But if you follow my One Mann's Movies blog you should know by now my view on movies that extend beyond 90 minutes... they need to justify that delta running time. And by outstaying this target by another 90 minutes... and then by ANOTHER 62 minutes borders on taking the <proverbial>. It's not Shakespeare!
(For the full graphical review, check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/04/04/zack-snyders-justice-league-does-lipstick-on-the-pig-work/).
Movie Metropolis (309 KP) rated Fantastic Four (2015) in Movies
Jun 11, 2019
An absolute snooze
Here comes yet another superhero film. Ending Marvel’s year that has included the charming Big Hero 6, the overstuffed Avengers: Age of Ultron and the surprisingly excellent Ant-Man, the Fox produced Fantastic Four reboot has a tough job trying to get audiences to forget the horror that came before it.
It’s been a tough ride for the quartet of heroes, but does director Josh Trank’s modern day reimagining of Marvel’s first team do enough to change perceptions?
Not by a long shot. Despite some excellent special effects, this yawnfest of a film that was plagued by rumours of constant behind-the-scenes tension and last-minute editing doesn’t have an ounce of originality in its short 100 minute running time.
Miles Teller (Insurgent), Kate Mara (Transcendence), Michael B. Jordan (Chronicle) and Jamie Bell (Billy Elliot) take on the roles of Reed Richards, Sue Storm, Johnny Storm and Ben Grimm respectively and are fine, if lacking in any real chemistry.
Fantastic Four is above all, an origins story as the four young adults try to crack interdimensional travel. Naturally, things don’t go quite to plan and they, alongside fellow colleague Victor Von Doom end up with an unusual set of powers – with Doom becoming the main antagonist.
Unfortunately, the plot, devised by no less than three writers is a complete bore. There is hardly anything of interest throughout the entire film as Trank pushes his cast from one underwhelming set piece to another.
When things do get tense, it’s only for a five minute scene involving Doom breaking out of a research facility. This is when we get to see what Fantastic Four could’ve been, a dark and brooding film with a disturbing villain at its core.
However, it seems this has been pushed back to make way for an unusually flat sense of humour and an uninteresting origins story. Marvel films live and die on their comedic elements and unfortunately Fantastic Four is as poor as they come.
Nevertheless, the film’s special effects are on the whole, very good. The other dimension looks fantastic and The Thing in particular is rendered using excellent motion capture animation.
An underwhelming climax wraps up a bitterly disappointing outing for the four heroes. Most superhero films end with a spectacular showdown of good versus evil but Fantastic Four has none of this. The ending is clichéd, short and has no real payoff.
Overall, expectations were already low for this reboot and despite director Josh Trank’s obvious talent for direction, this talent is nowhere to be found in Fantastic Four.
A cast that doesn’t gel together, a poor soundtrack and a lack of tonal balance ensures it will rest alongside X-Men Origins: Wolverine as proof that Marvel Studios needs the rights to all of its heroes returning to it.
https://moviemetropolis.net/2015/08/09/an-absolute-snooze-fantastic-four-review/
It’s been a tough ride for the quartet of heroes, but does director Josh Trank’s modern day reimagining of Marvel’s first team do enough to change perceptions?
Not by a long shot. Despite some excellent special effects, this yawnfest of a film that was plagued by rumours of constant behind-the-scenes tension and last-minute editing doesn’t have an ounce of originality in its short 100 minute running time.
Miles Teller (Insurgent), Kate Mara (Transcendence), Michael B. Jordan (Chronicle) and Jamie Bell (Billy Elliot) take on the roles of Reed Richards, Sue Storm, Johnny Storm and Ben Grimm respectively and are fine, if lacking in any real chemistry.
Fantastic Four is above all, an origins story as the four young adults try to crack interdimensional travel. Naturally, things don’t go quite to plan and they, alongside fellow colleague Victor Von Doom end up with an unusual set of powers – with Doom becoming the main antagonist.
Unfortunately, the plot, devised by no less than three writers is a complete bore. There is hardly anything of interest throughout the entire film as Trank pushes his cast from one underwhelming set piece to another.
When things do get tense, it’s only for a five minute scene involving Doom breaking out of a research facility. This is when we get to see what Fantastic Four could’ve been, a dark and brooding film with a disturbing villain at its core.
However, it seems this has been pushed back to make way for an unusually flat sense of humour and an uninteresting origins story. Marvel films live and die on their comedic elements and unfortunately Fantastic Four is as poor as they come.
Nevertheless, the film’s special effects are on the whole, very good. The other dimension looks fantastic and The Thing in particular is rendered using excellent motion capture animation.
An underwhelming climax wraps up a bitterly disappointing outing for the four heroes. Most superhero films end with a spectacular showdown of good versus evil but Fantastic Four has none of this. The ending is clichéd, short and has no real payoff.
Overall, expectations were already low for this reboot and despite director Josh Trank’s obvious talent for direction, this talent is nowhere to be found in Fantastic Four.
A cast that doesn’t gel together, a poor soundtrack and a lack of tonal balance ensures it will rest alongside X-Men Origins: Wolverine as proof that Marvel Studios needs the rights to all of its heroes returning to it.
https://moviemetropolis.net/2015/08/09/an-absolute-snooze-fantastic-four-review/
Neon's Nerd Nexus (360 KP) rated Mandy (2018) in Movies
May 13, 2019
Oh Mandy
#Mandymovie is an intoxicating & nauseating experience that left my head spinning & my body warm/tingly sunk into my seat. From the second #mandy starts i was simply hooked, #nostalgia running through my body & its #perfect visuals glistening off my eye balls. I felt almost in a #trance with its soothing/#hypnotic #soundtrack & its cinematography bathed in colour Mandy is simply #gorgeous right to its core. Atmosphere begins #beautifully creating so much intrigue, a sence of wonder/#mystery & a massive sense of love/commitment however its not long until this flips to deeply #unerving, #unsettling & down right skin crawling fast. So many scenes are Dialog sparce but with so much depth in the visuals & sound its really not missed or needed at all. An example of this is Cages love for mandy is shown as complete devotion, #passion/commitment like he sees her almost as a godess/his reason to live (shown using glowing light and warm fire acompanied by soft slow dialog) yet other peoples love for her is the complete oposite more as an #obsession, an object or a #desire (shown using pulsing red light, slow zooms and freeze frames and frantic pitch changing broken dialog). Its a masterful way of telling us about the characters & story making us feel/experiance there #emotions rather than wait for dialog to develop them for us. Acting is also stellar with this being #nicolascage best role in a very long time. His character is a #haunted & troubled man & his #pain can be felt deeply whenever he is on screen. Infunces/homages are everywhere here from #darioargento to #fridaythe13th & other #80s #horror movies. Infact mandy could easily be mistaken for a film released decades ago its that well made & its also destined to become a #cultclassic its self. Mandy is an absolute rare gem, every scene its drenched in such style, care & mesmerising #beauty youll be pushed to find another film like it now days. Im being vauge here on purpouse because to watching this film in the dark, on a big screen, turned up loud trully is one of the best experiences ive had watching a film this year. Insanely good & the perfect #arthouse #horror movie. #odeon #odeonlimitless #filmbuff #filmcritic
Chris Sawin (602 KP) rated Black Dynamite (2009) in Movies
Jun 20, 2019
After his brother is killed, Black Dynamite decides to take matters into his own hands. Just who is Black Dynamite? He's an action legend, a one-man army, and anyone who gets on his bad side is going to wind up dead. Other than struggling with trying to figure out who's responsible for his brother's death, Black Dynamite also has other matters to attend to. There's that new smack being distributed on the street that's even somehow reaching the orphans at the local orphanage and there's something screwy about that Anaconda malt liquor that just doesn't sit well with him. Black Dynamite will do whatever it takes to find out who killed his brother and clean up the streets even if it means going all the way to the Honky House.
Black Dynamite has quite a reputation as just about every article or review that mentioned the film gave it high praise. Is it possible for a film to be incredible while paying homage to the films that inspired it? Sure it is. Directors like Quentin Tarantino and Robert Rodriguez make a living doing just that. With Black Dynamite, however, you may not know what to expect. Expect it to parody the blaxploitation films from the 70s, pay homage to classic kung fu films, have ridiculous dialogue, a storyline that hilariously doesn't make sense, and have a funky soundtrack with lyrics that are just as awesome as the rest of the film.
Michael Jai White is really the selling point of the film since he is Black Dynamite and you're with him the entire film. I hadn't seen much of White's work before this, but I'm definitely wanting to see more now. His fight scenes are top notch and from what I could tell, it looked like he did the majority of his own stunts. The word I've been hearing is that he's a fairly impressive actor overall, but has just never really picked the right roles and never really broke into the mainstream. Maybe after playing Gambol in The Dark Knight helped him out a bit because he definitely has a bright future as not only an action star, but an actor as well. Other than his superb martial arts work, White's comedic timing is also really important in a film like this and it really pays off. There's a scene where a boom mic is noticeably in the shot while Black Dynamite is giving a big speech. He draws attention to it by repeatedly glaring at the mic throughout the scene, but doesn't miss a beat of the dialogue. Ridiculous scenes like that were crucial in the overall enjoyment factor of the film.
The dialogue is laugh out loud funny at times. There's a scene where the CIA show up at Black Dynamite's house and Agent O'Leary says to Black Dynamite, "We heard about your brother's death and we don't want you running around turning the streets into rivers of blood." Black Dynamite responds with, "Then tell me who did it and I'll just leave a puddle." The storyline is just as absurd, as well. Other than the film missing scenes that were shown in the trailer and things not fully being resolved with Vincent "The Don" Rafelli, the scene where Black Dynamite and his crew figure out what Anaconda malt liquor's true purpose is is both hilariously long-winded and confusing.
Black Dynamite may not be for everyone, but it will be hilariously awesome for most who actually get to see it. The film somehow manages to blend comedy as absurd and ridiculous as films like Anchorman: The Legend of Ron Burgundy or Zoolander and have hard hitting action scenes that are noticeably a tribute to classic Bruce Lee films. This blaxploitation parody comes highly recommended, can you dig it?
Black Dynamite has quite a reputation as just about every article or review that mentioned the film gave it high praise. Is it possible for a film to be incredible while paying homage to the films that inspired it? Sure it is. Directors like Quentin Tarantino and Robert Rodriguez make a living doing just that. With Black Dynamite, however, you may not know what to expect. Expect it to parody the blaxploitation films from the 70s, pay homage to classic kung fu films, have ridiculous dialogue, a storyline that hilariously doesn't make sense, and have a funky soundtrack with lyrics that are just as awesome as the rest of the film.
Michael Jai White is really the selling point of the film since he is Black Dynamite and you're with him the entire film. I hadn't seen much of White's work before this, but I'm definitely wanting to see more now. His fight scenes are top notch and from what I could tell, it looked like he did the majority of his own stunts. The word I've been hearing is that he's a fairly impressive actor overall, but has just never really picked the right roles and never really broke into the mainstream. Maybe after playing Gambol in The Dark Knight helped him out a bit because he definitely has a bright future as not only an action star, but an actor as well. Other than his superb martial arts work, White's comedic timing is also really important in a film like this and it really pays off. There's a scene where a boom mic is noticeably in the shot while Black Dynamite is giving a big speech. He draws attention to it by repeatedly glaring at the mic throughout the scene, but doesn't miss a beat of the dialogue. Ridiculous scenes like that were crucial in the overall enjoyment factor of the film.
The dialogue is laugh out loud funny at times. There's a scene where the CIA show up at Black Dynamite's house and Agent O'Leary says to Black Dynamite, "We heard about your brother's death and we don't want you running around turning the streets into rivers of blood." Black Dynamite responds with, "Then tell me who did it and I'll just leave a puddle." The storyline is just as absurd, as well. Other than the film missing scenes that were shown in the trailer and things not fully being resolved with Vincent "The Don" Rafelli, the scene where Black Dynamite and his crew figure out what Anaconda malt liquor's true purpose is is both hilariously long-winded and confusing.
Black Dynamite may not be for everyone, but it will be hilariously awesome for most who actually get to see it. The film somehow manages to blend comedy as absurd and ridiculous as films like Anchorman: The Legend of Ron Burgundy or Zoolander and have hard hitting action scenes that are noticeably a tribute to classic Bruce Lee films. This blaxploitation parody comes highly recommended, can you dig it?
RollerCoaster Tycoon® Classic
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RollerCoaster Tycoon® Classic is a new RCT experience, combining the best features from two of the...
Gareth von Kallenbach (980 KP) rated Pete's Dragon (2016) in Movies
Aug 6, 2019
Pete’s Dragon is a staple of my childhood. It was one of the three movies I would always choose to watch. So, naturally, I was a little worried when I heard about the new movie earlier this year. The teaser trailer didn’t give much to go by, but it looked promising. I trying something new this year where I do not watch anything beyond the teaser trailer (believe me, it’s killing me not to watch the new Rogue One trailer), so that’s all I had going into this. And I was pleasantly surprised.
39 years after the original, David Lowery brings us the re-invention of Pete’s Dragon. His aim was not to remake the original film, but to reinvent it. And that he did. PD opens up with a family traveling through a forest on a road trip. The young boy, Pete (Levi Alexander) is reading from a book about a lost puppy name Elliot. A tragic accident occurs, which leaves Pete by himself in the forest. As he starts to wander, a pack of wolves begins to close in on him, only to be thwarted by… you guessed it. A dragon.
Flash forward 6 years, and we now see an older Pete (Oakes Fegley) running around through the forest with Elliot, the dragon who he bonded with over the years. Pete happens upon a forest ranger, Grace (Bryce Dallas Howard) as she is scouting the forest, unmarking trees that were marked for cut down. She’s not a rebel, just protecting the habitat of an owl. Turns out her fiancé, Jack (Wes Bentley), and his brother, Gavin (Karl Urban), run the company that is tearing down the forest. One day, they happen upon Pete and bring him home, but Pete misses Elliot, and Elliot misses Pete. In an effort to get back to him, Elliot is discovered by Gavin who wants to hunt down Pete and bring him in. Grace seeks assistance from her father, Meachum (Robert Redford), who was always thought of as a crazy old man with his wild story of a dragon he met so many years ago. Can they help save Elliot from Gavin and his men?
While a little darker than the original, I found that I enjoyed this movie quite a lot. There are some plot holes to consider, and a little unbelievable on how fast the story develops in time passed in the universe set up here, but you have to understand that this movie is geared toward children. And I think they did well in creating an entertaining film for children and nostalgic adults alike. In fact, this screening was the quietest family screening I have ever attended. There were plenty of kids in the audience, but they were captivated.
Keeping in mind that this is truly a children’s movie, my biggest gripe was the absence of my favorite scene from the original (scorched apples, anyone?). But all in all, it is definitely something to get out to theaters to see. Lowery had indicated that he chose the appearance for Elliot as he did because he wanted to portray a dragon you could hug. Success, Mr. Lowery. Success. Pete’s Dragon is good fun for the whole family, so what are you waiting for? Go see it, already.
39 years after the original, David Lowery brings us the re-invention of Pete’s Dragon. His aim was not to remake the original film, but to reinvent it. And that he did. PD opens up with a family traveling through a forest on a road trip. The young boy, Pete (Levi Alexander) is reading from a book about a lost puppy name Elliot. A tragic accident occurs, which leaves Pete by himself in the forest. As he starts to wander, a pack of wolves begins to close in on him, only to be thwarted by… you guessed it. A dragon.
Flash forward 6 years, and we now see an older Pete (Oakes Fegley) running around through the forest with Elliot, the dragon who he bonded with over the years. Pete happens upon a forest ranger, Grace (Bryce Dallas Howard) as she is scouting the forest, unmarking trees that were marked for cut down. She’s not a rebel, just protecting the habitat of an owl. Turns out her fiancé, Jack (Wes Bentley), and his brother, Gavin (Karl Urban), run the company that is tearing down the forest. One day, they happen upon Pete and bring him home, but Pete misses Elliot, and Elliot misses Pete. In an effort to get back to him, Elliot is discovered by Gavin who wants to hunt down Pete and bring him in. Grace seeks assistance from her father, Meachum (Robert Redford), who was always thought of as a crazy old man with his wild story of a dragon he met so many years ago. Can they help save Elliot from Gavin and his men?
While a little darker than the original, I found that I enjoyed this movie quite a lot. There are some plot holes to consider, and a little unbelievable on how fast the story develops in time passed in the universe set up here, but you have to understand that this movie is geared toward children. And I think they did well in creating an entertaining film for children and nostalgic adults alike. In fact, this screening was the quietest family screening I have ever attended. There were plenty of kids in the audience, but they were captivated.
Keeping in mind that this is truly a children’s movie, my biggest gripe was the absence of my favorite scene from the original (scorched apples, anyone?). But all in all, it is definitely something to get out to theaters to see. Lowery had indicated that he chose the appearance for Elliot as he did because he wanted to portray a dragon you could hug. Success, Mr. Lowery. Success. Pete’s Dragon is good fun for the whole family, so what are you waiting for? Go see it, already.
Gareth von Kallenbach (980 KP) rated Trumbo (2016) in Movies
Aug 6, 2019
What is it that makes, not a great, but even a good biopic? It is certainly no enviable task, trying to condense decades of a person’s life into a mere two hours. Choosing what to keep and what to leave, stringing events together so that they feel as though they are one complete narrative opposed to a series of vignettes. And then there are the inevitable purists who will write off the entire product based on a single detail either left out or composited due to running time or budgetary restrictions. Over the years, I have found myself wrestling with my opinion of Braveheart. Do I enjoy it for its epic qualities, or do I cast it aside as the wretched historical inaccuracies fly in the face of what is one of the most important times in a country’s past?
The answer is simply, and stolen from another great historical epic, are you not entertained? Film can and should be powerful and informative. It can and should influence our thinking and encourage an emotional response, but above all, it should entertain. Trumbo does all of the above, ticks all the necessary boxes on the list of what makes a great biopic and whatever historical inaccuracies lie within be damned. Director Jay Roach, writer John McNamara and an ensemble so good it has to be seen to be believed have made, if not the best biopic of the year (that distinction still stays with Steve Jobs for now), then certainly the most enjoyable.
Where I find myself in reviewing Trumbo is trying not to sound monotonous in singing its high praises. Whether you’re interested in a message or not, because there is a good one in there, it’s a film that demands to be seen just on the strength of the cohesiveness that comes from the writing, the acting and (I still can’t believe I’m about to write this about the man who made all three Austin Powers movies) the directing.
I could prattle on endlessly about how overwhelmingly good this cast is, but the names speak for themselves. Bryan Cranston showcases that he is not just the best thing on television, but also a big-screen powerhouse. Helen Mirren, in her inimitable fashion and with beautiful understatement, is a force to be reckoned with, seething venom and self-righteousness. Louis C.K. finally breaks out of his stand-up comic persona to give a truly heartfelt performance played with surprisingly restrained vulnerability. The chemistry between him and Bryan Cranston will no doubt leave you wanting more. And John Goodman… well, it’s John Goodman. He continues to prove that no matter how small a part he has to play, it will stay with you long after you’ve left the theater. Hands down, and these are only four out of a dozen terrific performances, there hasn’t been an ensemble this stunning since L.A. Confidential.
It should also be mentioned that Michael Stuhlbarg, David James Elliott and Dean O’Gorman, who portray Edward G. Robinson, John Wayne and Kirk Douglas respectively, are unquestionably destined to go down as the unsung heroes of Trumbo. Their efforts, not just to imitate but to fully realize these Hollywood stars of a by-gone era, are a further complement to inspired casting and commitment to honoring the lives of the people portrayed on screen.
In short (and well done for making it this far through monotonous and truly well-deserved praise), if you have to see one film this Thanksgiving season that doesn’t star Tom Hardy as England’s notorious Kray brothers, see Trumbo.
The answer is simply, and stolen from another great historical epic, are you not entertained? Film can and should be powerful and informative. It can and should influence our thinking and encourage an emotional response, but above all, it should entertain. Trumbo does all of the above, ticks all the necessary boxes on the list of what makes a great biopic and whatever historical inaccuracies lie within be damned. Director Jay Roach, writer John McNamara and an ensemble so good it has to be seen to be believed have made, if not the best biopic of the year (that distinction still stays with Steve Jobs for now), then certainly the most enjoyable.
Where I find myself in reviewing Trumbo is trying not to sound monotonous in singing its high praises. Whether you’re interested in a message or not, because there is a good one in there, it’s a film that demands to be seen just on the strength of the cohesiveness that comes from the writing, the acting and (I still can’t believe I’m about to write this about the man who made all three Austin Powers movies) the directing.
I could prattle on endlessly about how overwhelmingly good this cast is, but the names speak for themselves. Bryan Cranston showcases that he is not just the best thing on television, but also a big-screen powerhouse. Helen Mirren, in her inimitable fashion and with beautiful understatement, is a force to be reckoned with, seething venom and self-righteousness. Louis C.K. finally breaks out of his stand-up comic persona to give a truly heartfelt performance played with surprisingly restrained vulnerability. The chemistry between him and Bryan Cranston will no doubt leave you wanting more. And John Goodman… well, it’s John Goodman. He continues to prove that no matter how small a part he has to play, it will stay with you long after you’ve left the theater. Hands down, and these are only four out of a dozen terrific performances, there hasn’t been an ensemble this stunning since L.A. Confidential.
It should also be mentioned that Michael Stuhlbarg, David James Elliott and Dean O’Gorman, who portray Edward G. Robinson, John Wayne and Kirk Douglas respectively, are unquestionably destined to go down as the unsung heroes of Trumbo. Their efforts, not just to imitate but to fully realize these Hollywood stars of a by-gone era, are a further complement to inspired casting and commitment to honoring the lives of the people portrayed on screen.
In short (and well done for making it this far through monotonous and truly well-deserved praise), if you have to see one film this Thanksgiving season that doesn’t star Tom Hardy as England’s notorious Kray brothers, see Trumbo.