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Bob Mann (459 KP) rated Ford v Ferrari (aka Le Mans '66) (2019) in Movies
Nov 20, 2019
Damon, Bale and fast cars (1 more)
Epic technical film making - cinematography, editing and sound - Oscar bait
A linear story on a circular track - but beautifully done.
Despite the love affair cinema has had with cars over the years, the sport of motor racing on film has been patchy. Too often the drama on the track has been deluged with melodrama off the track, as in John Frankenheimer's "Grand Prix" from 1966. While recent efforts such as Ron Howard's "Rush" have brought modern filming techniques to better convey the speed and excitement, it is Steve McQueen's "Le Mans" from 1971 that had previously set the bar for realism in the sport. But even there, there were a few off-track love stories to interweave into the action.
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
Gareth von Kallenbach (980 KP) rated Rock the Kasbah (2016) in Movies
Aug 6, 2019
Music is a language that transcends race, gender, age, and nationality. It is timeless. It is transformative. Music has the power to shape and redefine culture. In Rock the Kasbah, Bill Murray plays Richie Lanz, a washed up Rock manager who seeks to bring one of his acts to Afghanistan as part of the USO tour. Within the first day of arrival, his plans are unraveled as his singer (Zooey Deschanel) panics and runs off with his money and passport in order to return back to America.
After meeting a myriad of characters (Bruce Willis, Kate Hudson. Danny McBride) in Kabul, he is presented with a new opportunity to introduce the world to a true talent. He discovers a young Pashtun girl with an amazing voice who dreams of being able to compete on “Afghan Star,” a musical competition show similar to “American Idol.” Cultural norms forbid her from singing and participating in the competition which demonstrate the complexity of Afghan culture, history, and politics. Understanding the threat to himself and Salima (Leem Lubany), Richie arranges for her to appear on the show, defying traditions and customs.
The film itself is a decent adaptation of the real story captured in the documentary Afghan Star which examines the life of Setara who must go into hiding because of her appearance in the competition. Rock the Kasbah has moments of genuine humor which fully utilizes Bill Murray’s true talents. Unfortunately, there are points where the plot and the storyline does not seem to fit together seamlessly. One great aspect of the film is its use of music to demonstrate the reach that it has across cultural lines. The love of music and artistic expression which had been severely restricted during the years of Taliban rule and Mujahedeen influence survived and is emblematic of how the people and the culture is much more complex and relatable than many would assume. This film goes beyond a story of a young singer trying to express herself and a manager trying to reclaim the glory of years ago. It is about the culture, history, and political framework of Afghanistan and the Afghan people.
It promotes them in a more positive light without relegating them to being a monolithic culture and people. It provides more insight into the circumstances that many of the people both in the cities and the tribal regions deal with. Audiences will be satisfied Rock the Kasbah as it is a musical and comedic showcase. They may even find themselves singing “Wild World” long after the credits roll.
After meeting a myriad of characters (Bruce Willis, Kate Hudson. Danny McBride) in Kabul, he is presented with a new opportunity to introduce the world to a true talent. He discovers a young Pashtun girl with an amazing voice who dreams of being able to compete on “Afghan Star,” a musical competition show similar to “American Idol.” Cultural norms forbid her from singing and participating in the competition which demonstrate the complexity of Afghan culture, history, and politics. Understanding the threat to himself and Salima (Leem Lubany), Richie arranges for her to appear on the show, defying traditions and customs.
The film itself is a decent adaptation of the real story captured in the documentary Afghan Star which examines the life of Setara who must go into hiding because of her appearance in the competition. Rock the Kasbah has moments of genuine humor which fully utilizes Bill Murray’s true talents. Unfortunately, there are points where the plot and the storyline does not seem to fit together seamlessly. One great aspect of the film is its use of music to demonstrate the reach that it has across cultural lines. The love of music and artistic expression which had been severely restricted during the years of Taliban rule and Mujahedeen influence survived and is emblematic of how the people and the culture is much more complex and relatable than many would assume. This film goes beyond a story of a young singer trying to express herself and a manager trying to reclaim the glory of years ago. It is about the culture, history, and political framework of Afghanistan and the Afghan people.
It promotes them in a more positive light without relegating them to being a monolithic culture and people. It provides more insight into the circumstances that many of the people both in the cities and the tribal regions deal with. Audiences will be satisfied Rock the Kasbah as it is a musical and comedic showcase. They may even find themselves singing “Wild World” long after the credits roll.
Jesters_folly (230 KP) rated The Fast and the Furious: Tokyo Drift (2006) in Movies
Jun 6, 2021
I've been told that 'The Fast and the Furious: Tokyo Drift' is the worst of the franchise and, so far, I'd have to agree. For what it is it's not terrible but it's not great either.
In my review for the the first 'The Fast and the Furious' I mentioned that parts of it felt like one of those movies set in a high school, well, 'Tokyo Drift' takes that and runs (Rides?) with it. The opening scenes are exactly that, a high school movie, we have the jocks being, well, jocks, as portraited in most 80's & 90's movies, bulling and making life miserable for those that aren't there own. But don't worry the film soon shifts from an American high school to a Japanese one and, lets face it we knew it would have to happen, the clues in the title after all. To be fair, from this point on most of the action is on the roads and not the school but as a lot of the plot revolves around Sean and Neela, a girl he met in his new school the high school film feel remains.
One good thing that 'Tokyo Drift' manages is to continue the idea of 'Family' that is present in the previous films with Sean finding his new family in Tokyo and his relationship with his, first his mother and then his farther and also with Neela having to choose which side side (or which family) she belongs to as well as the surprise cameo at the end (it's an old film but I didn't know about it so I'm probably not the only one).
One thing missing from 'Tokyo Drift' was the crime aspect (except, of course the street racing), the first movie had touched on it with the truck robbery's and the second was almost all about finding and moving the drug money. The Yakuza are mentioned and there are underground clubs but the yakuza are there more as another symbol of family and the clubs just are, there is no one investigating them and they are more just an excuse to have lots of scantily clad women wondering around.
If you just want a film that you can turn your brain off to then 'The Fast and the Furious: Tokyo Drift' is ok, it has action in the form of car chases, plenty of 'eye candy' and a bit of a story. Just don't expect anything to taxing.
In my review for the the first 'The Fast and the Furious' I mentioned that parts of it felt like one of those movies set in a high school, well, 'Tokyo Drift' takes that and runs (Rides?) with it. The opening scenes are exactly that, a high school movie, we have the jocks being, well, jocks, as portraited in most 80's & 90's movies, bulling and making life miserable for those that aren't there own. But don't worry the film soon shifts from an American high school to a Japanese one and, lets face it we knew it would have to happen, the clues in the title after all. To be fair, from this point on most of the action is on the roads and not the school but as a lot of the plot revolves around Sean and Neela, a girl he met in his new school the high school film feel remains.
One good thing that 'Tokyo Drift' manages is to continue the idea of 'Family' that is present in the previous films with Sean finding his new family in Tokyo and his relationship with his, first his mother and then his farther and also with Neela having to choose which side side (or which family) she belongs to as well as the surprise cameo at the end (it's an old film but I didn't know about it so I'm probably not the only one).
One thing missing from 'Tokyo Drift' was the crime aspect (except, of course the street racing), the first movie had touched on it with the truck robbery's and the second was almost all about finding and moving the drug money. The Yakuza are mentioned and there are underground clubs but the yakuza are there more as another symbol of family and the clubs just are, there is no one investigating them and they are more just an excuse to have lots of scantily clad women wondering around.
If you just want a film that you can turn your brain off to then 'The Fast and the Furious: Tokyo Drift' is ok, it has action in the form of car chases, plenty of 'eye candy' and a bit of a story. Just don't expect anything to taxing.
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KittyMiku (138 KP) rated Sold to the Werewolf Prince in Books
May 23, 2019
Contains spoilers, click to show
This book is very short and has a good thought behind it. Since the world Hannah is now trying to integrate into is all about being kind and polite at all costs, its easy to see why she would have troubles with some of it. If offending someone meant execution, any human would have a problem living there without issue. I think that is the biggest idea I found to be enjoyable in the book. I love the idea of aliens and space travel, but the view point on having to keep your tongue tied to always be able to be kind to someone is what pique my interest. However, its not just your voice and words, its in your actions too. That whole world made sure everyone at all times are kept in a pleasured and blissful state.
At first, I was intrigued on the aliens and the life on their planet, but I found my interest leading me more towards how Hannah explained how Humans act to one another and how its hard to come by people who are naturally kind and respectful. Though the idea of being executed for saying anything in any way that could offend someone is kind of hard to get behind, I also feel like its something we should all strive for anyways. I can see the disadvantages of always being kind and polite as well though. In the book, Hannah had made it clear she was never sure what would offend someone and get her possibly killed and so she kept a lot of questions and thoughts to herself. I can completely understand that. To a degree though, I think keeping unkind things or questions that could be offense to yourself to be a great idea. However, when it comes to asking things about someone's religion or culture, I would think that wouldn't create a lot of offense. After all, we are all curious about something we don't understand or don't know. It did bring up a lot of things that we allow our children to say and do that isn't kind and allows others to feel unworthy or disrespected. For example name calling. In the story Hannah had tried to explain there are ways to say something to make in endearing. She used the term "bookworm". She went on to explain that in school people called her a bookworm to be mean and hurtful, it was an insult, but at home her mother used the term endearingly because Hannah always had her nose in a book. And if we are honest with ourselves, we know this is often a true case. Kids at school can be mean and hurtful if you don't fit in, but sometimes the insults they deal can also be ones of endearment from those we love. An example of this is the label gamer. In schools being a gamer meant you didn't have a ton of friends and often were picked on because you preferred to be at home playing your games than going to parties. However, if your wife is playfully teasing you by calling you a gamer, or uses it as an endearing term, it is not hurtful at all. Isn't it funny how something so silly as a single word used to describe you can have duel purposes; Hurtful and endearing?
I think Hannah's explanation of that was pretty dead on, but that wasn't all she brought up that reminded me of how awful humans can be. She has brought up how possessive humans can be to materials, enough to kill or have a hand in killing someone else for it. This is something we actually see everyday, if we allow ourselves too. People kill other people for money and material objects. People kill animals, and we aren't talking about for food purposes, because they want to or because it will allow them to make money for certain pieces of the animal. They aren't just hurtful, they are lethal to others and their environment. I found myself cringing at how real her words were. I know these things are going on in the world, we all do, but to have it spoken out loud so bluntly makes you wish it would just stop. In the book, Hannah had stated the American Government had stated that aliens had visited and they covered it up. And Prince Tamkin had stated because of human hostile nature, they didn't see why they should bother with the humans. He said most aliens didn't see the humans worth the hassle. That brings me to question if it is possible that this is also true.
Think about it. Let's say this particular book is correct in the fact aliens exist and they gave up trying to communicate with us because of our hostile natures. Always putting ourselves first and anyone, anything else last. It would make sense in a way, don't you think? I know this is a Sci-fi romance book, but at the same time, it does make a lot of sense. Hannah had said we were egotistical and self centered, thinking we had the best technology in the universe and that we can take anything we want and its true. As a race, humans are horrible creatures. That's not to say there aren't good ones out there. Even Hannah had explained that there were groups of people who fought for the Earth and others. Just as there are people in the real world who do that same. So if Wright can have a lot of truth in the book, who is not to say she was able to come up with a reason on why aliens stay away from Earth? Even though the space travel seems still to far for us to know if that was that is a real thing or not, it is still something worth thinking about.
I do have one major compliant about the book. The intercourse scenes. There were a total of three heavily detailed scenes that I don't completely understand. Do not get my wrong, the first scene was to make it so you understood that pleasing the woman in the bedroom was extremely important and it completely proved this case. However, I do not feels that so much needed to be in the book. The story could have used more details on the alien planet and the major city they resided in. I would have loved to know more about it. I would have loved to actually have seen the different communities and wild life. I was disappointed there wasn't more but instead I got steamy intercourse scenes that would make adult movie stars blush.
I would rate this book 3 stars out of 5 stars. It had brought up a lot of topics to discuss and ponder on and definitely left me wanting more, but the intercourse scenes were over the top and just too much for me. I would have been find with just the first one and maybe shorter scenes for the others. To me it just took away from the story in a way I didn't like.
At first, I was intrigued on the aliens and the life on their planet, but I found my interest leading me more towards how Hannah explained how Humans act to one another and how its hard to come by people who are naturally kind and respectful. Though the idea of being executed for saying anything in any way that could offend someone is kind of hard to get behind, I also feel like its something we should all strive for anyways. I can see the disadvantages of always being kind and polite as well though. In the book, Hannah had made it clear she was never sure what would offend someone and get her possibly killed and so she kept a lot of questions and thoughts to herself. I can completely understand that. To a degree though, I think keeping unkind things or questions that could be offense to yourself to be a great idea. However, when it comes to asking things about someone's religion or culture, I would think that wouldn't create a lot of offense. After all, we are all curious about something we don't understand or don't know. It did bring up a lot of things that we allow our children to say and do that isn't kind and allows others to feel unworthy or disrespected. For example name calling. In the story Hannah had tried to explain there are ways to say something to make in endearing. She used the term "bookworm". She went on to explain that in school people called her a bookworm to be mean and hurtful, it was an insult, but at home her mother used the term endearingly because Hannah always had her nose in a book. And if we are honest with ourselves, we know this is often a true case. Kids at school can be mean and hurtful if you don't fit in, but sometimes the insults they deal can also be ones of endearment from those we love. An example of this is the label gamer. In schools being a gamer meant you didn't have a ton of friends and often were picked on because you preferred to be at home playing your games than going to parties. However, if your wife is playfully teasing you by calling you a gamer, or uses it as an endearing term, it is not hurtful at all. Isn't it funny how something so silly as a single word used to describe you can have duel purposes; Hurtful and endearing?
I think Hannah's explanation of that was pretty dead on, but that wasn't all she brought up that reminded me of how awful humans can be. She has brought up how possessive humans can be to materials, enough to kill or have a hand in killing someone else for it. This is something we actually see everyday, if we allow ourselves too. People kill other people for money and material objects. People kill animals, and we aren't talking about for food purposes, because they want to or because it will allow them to make money for certain pieces of the animal. They aren't just hurtful, they are lethal to others and their environment. I found myself cringing at how real her words were. I know these things are going on in the world, we all do, but to have it spoken out loud so bluntly makes you wish it would just stop. In the book, Hannah had stated the American Government had stated that aliens had visited and they covered it up. And Prince Tamkin had stated because of human hostile nature, they didn't see why they should bother with the humans. He said most aliens didn't see the humans worth the hassle. That brings me to question if it is possible that this is also true.
Think about it. Let's say this particular book is correct in the fact aliens exist and they gave up trying to communicate with us because of our hostile natures. Always putting ourselves first and anyone, anything else last. It would make sense in a way, don't you think? I know this is a Sci-fi romance book, but at the same time, it does make a lot of sense. Hannah had said we were egotistical and self centered, thinking we had the best technology in the universe and that we can take anything we want and its true. As a race, humans are horrible creatures. That's not to say there aren't good ones out there. Even Hannah had explained that there were groups of people who fought for the Earth and others. Just as there are people in the real world who do that same. So if Wright can have a lot of truth in the book, who is not to say she was able to come up with a reason on why aliens stay away from Earth? Even though the space travel seems still to far for us to know if that was that is a real thing or not, it is still something worth thinking about.
I do have one major compliant about the book. The intercourse scenes. There were a total of three heavily detailed scenes that I don't completely understand. Do not get my wrong, the first scene was to make it so you understood that pleasing the woman in the bedroom was extremely important and it completely proved this case. However, I do not feels that so much needed to be in the book. The story could have used more details on the alien planet and the major city they resided in. I would have loved to know more about it. I would have loved to actually have seen the different communities and wild life. I was disappointed there wasn't more but instead I got steamy intercourse scenes that would make adult movie stars blush.
I would rate this book 3 stars out of 5 stars. It had brought up a lot of topics to discuss and ponder on and definitely left me wanting more, but the intercourse scenes were over the top and just too much for me. I would have been find with just the first one and maybe shorter scenes for the others. To me it just took away from the story in a way I didn't like.
Movie Metropolis (309 KP) rated The DUFF (2015) in Movies
Jun 11, 2019
Disappointingly Generic
The school-set comedy genre has been done to death over the last two decades. From body swap comedies like 17 Again that hang on the pulling power of their stars, to films that now have a cult following like 10 Things I Hate About You, each of them has little to offer once the end credits roll.
With the brilliant Mean Girls being one of the only exceptions to the trend, the latest film to tackle the genre is The DUFF, but is Ari Sandel’s directorial debut worthy of a recommendation?
The DUFF follows daily life at a typical American high-school with typical US teens separated into categories depending on their social standing.
Enter Bianca Piper, played by the brilliant Mae Whitman, a vastly intelligent girl who is unaware of her place in the rankings as the DUFF – Designated Ugly Fat Friend – that is until her hunky next door neighbour Wesley (Robbie Amell) informs her of that fact.
What ensues is a selection of mildly amusing scenes interspersed with some touching social commentary about what it means to be normal in an ever-changing world as Bianca tries to come to terms with her place in the school hierarchy.
Despite the obvious focus on looks and beauty, the film does have a deeper message of self-worth and it’s a shame this is rarely touched upon outside of the finale.
Perhaps The DUFF’s strongest suit is in its unique filming style. The use of technology and social media helps distinguish it from its rivals and what it lacks in story is made up for with clever uses of animation and an engaging soundtrack.
Just when you think the film has decided to settle in a rut and remain there for the duration, it throws you off course with a clever cut-scene or use of technology and there are two moments in particular that had the audience in stitches.
Unfortunately, the rest of the film isn’t that funny. The story is predictable and the will-they-won’t-they romantic subplot is massively clichéd and dull because the characters, apart from Bianca, simply don’t register – there is no reason to care for them.
Mae Whitman is a force to be reckoned with as Bianca and is by far the most intriguing member of a disappointingly bland cast. Elsewhere, Ken Jeong (Community, The Hangover) and Allison Janney (Hairspray) pop up as a concerned teacher and Bianca’s mother, but they are both wasted in ultimately thankless roles.
Overall, it’s easy to feel sorry for films like The DUFF. The school-set genre has fizzled out in recent years and hasn’t got its mojo back despite numerous efforts from movies much less accomplished than this one.
Mae Whitman and the use of Family Guy-esque cut-scenes are the main plus points here, but despite its best intentions, it’s hard to give it too much of a recommendation and is probably best reserved for a late-night DVD viewing.
https://moviemetropolis.net/2015/04/12/disappointingly-generic-the-duff-review/
With the brilliant Mean Girls being one of the only exceptions to the trend, the latest film to tackle the genre is The DUFF, but is Ari Sandel’s directorial debut worthy of a recommendation?
The DUFF follows daily life at a typical American high-school with typical US teens separated into categories depending on their social standing.
Enter Bianca Piper, played by the brilliant Mae Whitman, a vastly intelligent girl who is unaware of her place in the rankings as the DUFF – Designated Ugly Fat Friend – that is until her hunky next door neighbour Wesley (Robbie Amell) informs her of that fact.
What ensues is a selection of mildly amusing scenes interspersed with some touching social commentary about what it means to be normal in an ever-changing world as Bianca tries to come to terms with her place in the school hierarchy.
Despite the obvious focus on looks and beauty, the film does have a deeper message of self-worth and it’s a shame this is rarely touched upon outside of the finale.
Perhaps The DUFF’s strongest suit is in its unique filming style. The use of technology and social media helps distinguish it from its rivals and what it lacks in story is made up for with clever uses of animation and an engaging soundtrack.
Just when you think the film has decided to settle in a rut and remain there for the duration, it throws you off course with a clever cut-scene or use of technology and there are two moments in particular that had the audience in stitches.
Unfortunately, the rest of the film isn’t that funny. The story is predictable and the will-they-won’t-they romantic subplot is massively clichéd and dull because the characters, apart from Bianca, simply don’t register – there is no reason to care for them.
Mae Whitman is a force to be reckoned with as Bianca and is by far the most intriguing member of a disappointingly bland cast. Elsewhere, Ken Jeong (Community, The Hangover) and Allison Janney (Hairspray) pop up as a concerned teacher and Bianca’s mother, but they are both wasted in ultimately thankless roles.
Overall, it’s easy to feel sorry for films like The DUFF. The school-set genre has fizzled out in recent years and hasn’t got its mojo back despite numerous efforts from movies much less accomplished than this one.
Mae Whitman and the use of Family Guy-esque cut-scenes are the main plus points here, but despite its best intentions, it’s hard to give it too much of a recommendation and is probably best reserved for a late-night DVD viewing.
https://moviemetropolis.net/2015/04/12/disappointingly-generic-the-duff-review/
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Darren (1599 KP) rated Knives Out (2019) in Movies
Nov 26, 2019
Verdict: Pure Fun
Story: Knives Out starts with the apparent suicide of Harlan Thrombey (Plummer) on his 85th birthday, the family Linda (Curtis), Walt (Shannon), Richard (Johnson), Joni (Collette) Meg (Langford), Jacob (Martell) and Ransom (Evans) were all in attendance along with Harlan’s nurse Marta (Armas).
Lieutenant Elliott (Stanfield) lets private investigator Benoit Blanc (Craig) look at the events of the night after he gets an anonymous request to investigate the death believing it was murder, with the whole family have cause to potentially murder.
Thoughts on Knives Out
Characters – Benoit Blanc is a private investigator that has a connection to the family and has been given an anonymous letter to investigate the death, he has his way which unlike the normal police will push the family for the truth, knowing most are lying when they talk to him. Marta Cabrera is the nurse to Harlan, she has the closest relationship to him, knowing most of the family secrets, while just working to make sure her family is secure. Harlan is the self-made millionaire author that has started to get disappointed by the behaviour of his own children. Linda is the eldest daughter who has her own real estate business that she is proud of her work, believing she has done better than the other siblings. Walt is the youngest son who runs the publication of the books, which has always seen him try to push his father into selling the rights to entertainment sources. Richard is the husband to Linda that has been caught by Harlan being forced into telling the truth or being exposed. Joni is the daughter in the law of the deceased son that is an influencer and has been getting an allowance since her husband’s death. Ransom is the black sheep of the family, son of Linda and Richard, he has always lived the life of luxury never having to work on anything himself. Meg is the daughter of Joni that is the closest of any of the younger family members to Marta, she has seen herself be put through school but Harlan. LT Elliott is leading the investigation to the death, he is happy to put it down as suicide, but will let Benoit lead his own investigate.
Performances – The performances here are a pure joy, Daniel Craig gives us a career best, Ana De Armas continues to rise up the Hollywood name list, proving herself with a sweet innocent figure, Chris Evans brings to light a character complete against the type we are used to seeing form him. Jamie Lee Curtis, Michael Shannon, Don Johnson and Toni Collette are wonderful too showing they can become anybody like we know from them. Everybody in this film is wonderful to watch.
Story – The story here follows a private investigator who decides to investigate an apparent suicide where he will dig up the family secrets to learn there might have been foul play. This story is a who-dun-it where everybody could be a suspect as nobody wants to tell the truth and everybody is hiding the truth too. There is a unique way of telling the story that will surprise you and turn the usual flow on its head, almost pointing out just how predictable certain TV shows involving a murder are. We do have plenty to unpack through the story, though there is a slight drag through the middle of the film.
Comedy/Crime/Mystery – The comedy comes from the colourful characters we get to meet and their actions, while the crime mystery mix together to keep us guessing to the complete truth of what happened, we get plenty of references to other crime stories too.
Settings – The film is mostly set on the grounds of the death, we have the luxury mansion, when we stay in this location everything does feel like ‘Clue’ but whether we leave it does take a little bit away from the quirky style.
Scene of the Movie – Ambulance arrives.
That Moment That Annoyed Me – We never learn where Marta is from, with the on running joke she is South American, each character claims she is from a different country.
Final Thoughts – This is a quirky joyful comedy that leaves you guessing to the truth with performances that shine throughout the film.
Overall: Entertaining Mystery.
Story: Knives Out starts with the apparent suicide of Harlan Thrombey (Plummer) on his 85th birthday, the family Linda (Curtis), Walt (Shannon), Richard (Johnson), Joni (Collette) Meg (Langford), Jacob (Martell) and Ransom (Evans) were all in attendance along with Harlan’s nurse Marta (Armas).
Lieutenant Elliott (Stanfield) lets private investigator Benoit Blanc (Craig) look at the events of the night after he gets an anonymous request to investigate the death believing it was murder, with the whole family have cause to potentially murder.
Thoughts on Knives Out
Characters – Benoit Blanc is a private investigator that has a connection to the family and has been given an anonymous letter to investigate the death, he has his way which unlike the normal police will push the family for the truth, knowing most are lying when they talk to him. Marta Cabrera is the nurse to Harlan, she has the closest relationship to him, knowing most of the family secrets, while just working to make sure her family is secure. Harlan is the self-made millionaire author that has started to get disappointed by the behaviour of his own children. Linda is the eldest daughter who has her own real estate business that she is proud of her work, believing she has done better than the other siblings. Walt is the youngest son who runs the publication of the books, which has always seen him try to push his father into selling the rights to entertainment sources. Richard is the husband to Linda that has been caught by Harlan being forced into telling the truth or being exposed. Joni is the daughter in the law of the deceased son that is an influencer and has been getting an allowance since her husband’s death. Ransom is the black sheep of the family, son of Linda and Richard, he has always lived the life of luxury never having to work on anything himself. Meg is the daughter of Joni that is the closest of any of the younger family members to Marta, she has seen herself be put through school but Harlan. LT Elliott is leading the investigation to the death, he is happy to put it down as suicide, but will let Benoit lead his own investigate.
Performances – The performances here are a pure joy, Daniel Craig gives us a career best, Ana De Armas continues to rise up the Hollywood name list, proving herself with a sweet innocent figure, Chris Evans brings to light a character complete against the type we are used to seeing form him. Jamie Lee Curtis, Michael Shannon, Don Johnson and Toni Collette are wonderful too showing they can become anybody like we know from them. Everybody in this film is wonderful to watch.
Story – The story here follows a private investigator who decides to investigate an apparent suicide where he will dig up the family secrets to learn there might have been foul play. This story is a who-dun-it where everybody could be a suspect as nobody wants to tell the truth and everybody is hiding the truth too. There is a unique way of telling the story that will surprise you and turn the usual flow on its head, almost pointing out just how predictable certain TV shows involving a murder are. We do have plenty to unpack through the story, though there is a slight drag through the middle of the film.
Comedy/Crime/Mystery – The comedy comes from the colourful characters we get to meet and their actions, while the crime mystery mix together to keep us guessing to the complete truth of what happened, we get plenty of references to other crime stories too.
Settings – The film is mostly set on the grounds of the death, we have the luxury mansion, when we stay in this location everything does feel like ‘Clue’ but whether we leave it does take a little bit away from the quirky style.
Scene of the Movie – Ambulance arrives.
That Moment That Annoyed Me – We never learn where Marta is from, with the on running joke she is South American, each character claims she is from a different country.
Final Thoughts – This is a quirky joyful comedy that leaves you guessing to the truth with performances that shine throughout the film.
Overall: Entertaining Mystery.
Gareth von Kallenbach (980 KP) rated Annabelle (2014) in Movies
Aug 6, 2019
Annabelle is the newest demon-based spooky fright film produced by James Wan (producer Saw II-IV & director Insidious 1&2). The trailers would have you believe that it is a prequel to the Conjuring. Well I suppose it is, although a very loose prequel.
Annabelle, the possessed doll, is mentioned a few times in “The Conjuring,” but it doesn’t contain any of the cast from the original . The film takes place in the 1970s and focuses on a married couple who have just moved in to a new house and the wife, Mia (Annabelle Wallis) is pregnant. Her husband (played extremely woodenly by actor Ward Horton) buys her a long sought after custom doll named Annabelle. Shortly after, the couple is attacked by their neighbors who we find are satanic cult members. Mia is stabbed in her belly (threatening the life of her child); the female Satanist neighbor dies clutching the Annabelle doll, her blood dripping and seemingly sucked into the eye socket of the doll, ushering in the demonic reign of Annabelle.
You’d assume that this is a standard “killer doll” horror flick, you’d also be a bit misled, and that’s a good thing in my opinion. This isn’t Chucky. You won’t see Annabelle speaking or running around the house brandishing a knife. That isn’t to say that the movie doesn’t have its share of genre tropes, it has plenty of those.
As so many other possession/haunting movies involving a couple, for the most part the lonely wife is preyed upon while the husband is away at work. Throughout the film the writers find multiple ways of keeping Mia at home alone with the demon. John is called away on a business trip on one of the more traumatic encounters Mia has with Annabelle, resulting in Mia being placed on bed rest, giving her a reason to stay at home in the demons clutches. Later John is placed on the night shift, once again placing him out of the way so the demon can terrorize Mia at night where things are scary. It is inevitable that a scene takes place where her husband doesn’t believe her and thinks she’s going crazy. I can think of so many films that go this same route. The prerequisite priest comes along to help the family figure out their demonic happenings and oh yes, let’s not forget the sagely African American that needs to help Mia find her way and lead her both in knowledge of the demon and its demise. The story manages to throw in some mysterious children to once scene just to make sure that the trope is checked off the list. The remainder of the movie after the introductory attack by the satanic neighbors has Mia and later her child being threatened by the demon possessing Annabelle, the search for what it is, and what it wants and then its climax and disposal. Nothing new to this genre found here.
Annabelle does come with its share of scares (most of these can be seen in the previews), however the pacing is bad. I found myself bored out of my mind by the plot between the scares. So bored and disinterested that once the scary scenes occurred which seemed to be paced almost on a timer there wasn’t enough scare to raise the adrenaline needed to make it to the next fright. I will say that having a child endangered and threatened by the demonic spirit does bump up the tension and nerves and was a necessary inclusion to raise the stakes and pull out some reason to care about the victims by the audience.
Mia and John are so one-imensional that one would be hard-pressed to care about what happens to either of them. The demon effects are about as scary as a guy in a rubber suit lurking around a two-bit horror house, I mean pretty bad. I’ve seen a scarier demon on a TV episode of “Unsolved Mysteries” from 1988. Annabelle is good for a fright or two, and a reason to grab some popcorn and pig-out, but just be prepared to take a siesta three or four times in-between bouts of popcorn binge.
Annabelle, the possessed doll, is mentioned a few times in “The Conjuring,” but it doesn’t contain any of the cast from the original . The film takes place in the 1970s and focuses on a married couple who have just moved in to a new house and the wife, Mia (Annabelle Wallis) is pregnant. Her husband (played extremely woodenly by actor Ward Horton) buys her a long sought after custom doll named Annabelle. Shortly after, the couple is attacked by their neighbors who we find are satanic cult members. Mia is stabbed in her belly (threatening the life of her child); the female Satanist neighbor dies clutching the Annabelle doll, her blood dripping and seemingly sucked into the eye socket of the doll, ushering in the demonic reign of Annabelle.
You’d assume that this is a standard “killer doll” horror flick, you’d also be a bit misled, and that’s a good thing in my opinion. This isn’t Chucky. You won’t see Annabelle speaking or running around the house brandishing a knife. That isn’t to say that the movie doesn’t have its share of genre tropes, it has plenty of those.
As so many other possession/haunting movies involving a couple, for the most part the lonely wife is preyed upon while the husband is away at work. Throughout the film the writers find multiple ways of keeping Mia at home alone with the demon. John is called away on a business trip on one of the more traumatic encounters Mia has with Annabelle, resulting in Mia being placed on bed rest, giving her a reason to stay at home in the demons clutches. Later John is placed on the night shift, once again placing him out of the way so the demon can terrorize Mia at night where things are scary. It is inevitable that a scene takes place where her husband doesn’t believe her and thinks she’s going crazy. I can think of so many films that go this same route. The prerequisite priest comes along to help the family figure out their demonic happenings and oh yes, let’s not forget the sagely African American that needs to help Mia find her way and lead her both in knowledge of the demon and its demise. The story manages to throw in some mysterious children to once scene just to make sure that the trope is checked off the list. The remainder of the movie after the introductory attack by the satanic neighbors has Mia and later her child being threatened by the demon possessing Annabelle, the search for what it is, and what it wants and then its climax and disposal. Nothing new to this genre found here.
Annabelle does come with its share of scares (most of these can be seen in the previews), however the pacing is bad. I found myself bored out of my mind by the plot between the scares. So bored and disinterested that once the scary scenes occurred which seemed to be paced almost on a timer there wasn’t enough scare to raise the adrenaline needed to make it to the next fright. I will say that having a child endangered and threatened by the demonic spirit does bump up the tension and nerves and was a necessary inclusion to raise the stakes and pull out some reason to care about the victims by the audience.
Mia and John are so one-imensional that one would be hard-pressed to care about what happens to either of them. The demon effects are about as scary as a guy in a rubber suit lurking around a two-bit horror house, I mean pretty bad. I’ve seen a scarier demon on a TV episode of “Unsolved Mysteries” from 1988. Annabelle is good for a fright or two, and a reason to grab some popcorn and pig-out, but just be prepared to take a siesta three or four times in-between bouts of popcorn binge.