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LeftSideCut (3778 KP) rated Dead Ant (2017) in Movies
Feb 16, 2021
Let's get the obvious out of the way first...the CGI giant ants, or course, look awful...but honestly, if one can look beyond that, Dead Ant is a genuinely funny and entertaining B-Movie blast.
It has a cast that's not to be sniffed at - Sean Astin, Tom Arnold, Jake Busey, Danny Woodburn, Twin Peaks legend Michael Horse, Sydney Sweeney, Entourage's Rhys Coiro - not too shabby for a low budget creature feature.
It's screenplay is constantly humourous, and everyone involved seems like they're having a good time.
As mentioned, the special effects are bargain bin level, but I don't know, that sort of adds to the whole experience.
I might just be a sucker for heavy metal themed comedies, but Dead Ant is a perfectly fine way to spend 90 minutes, and the song "Sideboob" from the movies fictional band Sonic Grave is now on one of my Spotify playlists đ¤
It has a cast that's not to be sniffed at - Sean Astin, Tom Arnold, Jake Busey, Danny Woodburn, Twin Peaks legend Michael Horse, Sydney Sweeney, Entourage's Rhys Coiro - not too shabby for a low budget creature feature.
It's screenplay is constantly humourous, and everyone involved seems like they're having a good time.
As mentioned, the special effects are bargain bin level, but I don't know, that sort of adds to the whole experience.
I might just be a sucker for heavy metal themed comedies, but Dead Ant is a perfectly fine way to spend 90 minutes, and the song "Sideboob" from the movies fictional band Sonic Grave is now on one of my Spotify playlists đ¤
Gareth von Kallenbach (962 KP) rated Hit & Run (2012) in Movies
Aug 7, 2019
In this fast passed action comedy, Dax Shepard and Kristen Bell are a young couple who live in the small town of Milton. Charlie Bronson (Dax Shepard) has a sordid past that prevents him from leaving the small town that he and his girlfriend live in. Charlieâs past includes a bank robber without a name (Bradley Cooper) and he is out to seek revenge against Charlie for testifying against him in an older bank robbery case.
After Annie gets a promotion outside of Milton in L.A., the couple end up heading on a road trip as Charley is determined to get her to her new job on time. Little does she know the road trip to her future may be the end of her relationship, a crazy adventure or a new beginning.
This movie is nothing short of hilarious. In my opinion Tom Arnold who plays Charlieâs protection makes this entire movie worth watching and that is saying something.
While I was not a fan of the cinematography used in this film , the humor makes up for it for sure. This film should not be missed especially if you like really fast cars.
After Annie gets a promotion outside of Milton in L.A., the couple end up heading on a road trip as Charley is determined to get her to her new job on time. Little does she know the road trip to her future may be the end of her relationship, a crazy adventure or a new beginning.
This movie is nothing short of hilarious. In my opinion Tom Arnold who plays Charlieâs protection makes this entire movie worth watching and that is saying something.
While I was not a fan of the cinematography used in this film , the humor makes up for it for sure. This film should not be missed especially if you like really fast cars.
Matthew Krueger (10051 KP) rated Freddy's Dead: The Final Nightmare (1991) in Movies
Jul 3, 2020
Now I'm Playing With Power: The Glove
Contains spoilers, click to show
Freddy's Dead: The Final Nightmare tells it all. Its going to be the final nightmare and Freddy will be dead once and for all. So the title of the movie spoilers the entire movie. Cause 1. Your expecting Freddy to die and 2. That this will be the final nightmare for now at least. Also you have the wiredest, coolest and strangest produce placement with Nintento's Power-Glove. Freddy says "Now i'm playing with power" and also "Hey, you forgot about the powerglove". He also refference's "The Wizard of Oz" wiredly and also this saying "this is your brain, this is your brain on drugs". This is a weird movie.
The deaths are cool like Carlo's death: Hearing magnified, head exploded by sound of bladed glove scratching chalkboard. Its a funny death, thats sounds odd but it is. Spencer's death: Knocked down stairs into bottomless pit. Again its a funny death. John's death: Fell from sky, impaled on bed spikes. Again its funny. Even Freddy's death: Pinned to wall/crate with various weapons, bladed glove in stomach, blown up by pipe bomb. Its funny, Freddy's death shouldn't be funny, it should be iconic. This isnt iconic. Also for some pair of reason the last ten minutes of the movie is 3D. IDK why, but it was.
The plot: Murderous ghoul Freddy Krueger (Robert Englund) has slaughtered every last child in his hometown. He ventures on to a new location, scouting fresh young victims to hack up with his finger blades. He arrives in a small town in which his long-lost daughter, Maggie (Lisa Zane), works as a therapist for troubled youths. He attempts to recruit her for his dastardly pursuits, but she has other ideas. Father and daughter meet for a bloody showdown that will determine Freddy's fate once and for all.
Also for some pair of reason Roseanne Barr, Tom Arnold, and Alice Cooper all appear in this film.
Freddy's Dead is a wired movie, but at least it was a intresting movie.
The deaths are cool like Carlo's death: Hearing magnified, head exploded by sound of bladed glove scratching chalkboard. Its a funny death, thats sounds odd but it is. Spencer's death: Knocked down stairs into bottomless pit. Again its a funny death. John's death: Fell from sky, impaled on bed spikes. Again its funny. Even Freddy's death: Pinned to wall/crate with various weapons, bladed glove in stomach, blown up by pipe bomb. Its funny, Freddy's death shouldn't be funny, it should be iconic. This isnt iconic. Also for some pair of reason the last ten minutes of the movie is 3D. IDK why, but it was.
The plot: Murderous ghoul Freddy Krueger (Robert Englund) has slaughtered every last child in his hometown. He ventures on to a new location, scouting fresh young victims to hack up with his finger blades. He arrives in a small town in which his long-lost daughter, Maggie (Lisa Zane), works as a therapist for troubled youths. He attempts to recruit her for his dastardly pursuits, but she has other ideas. Father and daughter meet for a bloody showdown that will determine Freddy's fate once and for all.
Also for some pair of reason Roseanne Barr, Tom Arnold, and Alice Cooper all appear in this film.
Freddy's Dead is a wired movie, but at least it was a intresting movie.
Movie Metropolis (309 KP) rated Kong: Skull Island (2017) in Movies
Jun 10, 2019
Beauty and the Beast
The fact that Legendary Pictures are busying themselves with an epic Godzilla vs King Kong showdown is one of the worst kept secrets in Hollywood. Naturally, this presented a problem for Peter Jacksonâs Kong who simply doesnât measure up against the giant lizard in 2013âs Godzilla.
And in Hollywood, size really does matter; therefore the monstrous ape has been given a monumental upgrade featuring an all-star cast and some serious talent behind the camera. But is Kong: Skull Island as bananas as its trailers would suggest? Or are we looking at something a little more mainstream?
At the climax of the Vietnam War, a team of explorers and mercenaries head to an unchartered island in the South Pacific in an effort to document its inhabitants. Little do they know they are crossing into the domain of vicious man-eating monsters and the legendary Kong.
With a cast that includes Tom Hiddleston, Brie Larson, John Goodman, Samuel L Jackson and John C Reilly, youâd be forgiven for thinking everything is hunky dory over on Skull Island, but this spectacular film isnât without its flaws. A lack of character development and a severe tonal imbalance mean itâs a beautiful near miss that thankfully manages to pull itself up from a crash landing.
Jordan Vogt-Roberts in his first big budget feature directs a film that is absolutely staggering to watch, with stunning cinematography and exceptionally well-choreographed battles between the gigantic ape and his many adversaries. Giving indie directors the chance to work with big studios to produce blockbusters is something that seems incredibly popular at the moment.
After all, Gareth Edwards took up the challenge of rebooting Godzilla in 2013 with stunning results and Colin Trevorrow was entrusted by Steven Spielberg to rekindle the publicâs love affair with Jurassic Park back in 2015 and that worked a treat too.
Here, Vogt-Roberts utilises both of those franchises to great effect, even managing to shoehorn a tasteful reference to Samuel L Jacksonâs Jurassic Park character, Ray Arnold. Elsewhere, though, the film falls a little flat. The constant switch in tone from comedy to action leaves a sour taste in the mouth, though John C Reillyâs stranded pilot is a pleasure to watch and lightens up proceedings.
Tom Hiddleston does well in the leading role, though as an SAS operative, he feels a little miscast and Samuel L Jacksonâs Preston Packard is immensely dislikeable and his gripe with Kong is forced. It creates a subplot that doesnât really need to be there.
The special effects, however, are top notch, helped by the splendid cinematography. The gorgeous sunsets and sweeping tropical landscapes have a whiff of Apocalypse Now and the misty terrain brings back memories of Jurassic Parkâs first sequel, The Lost World.
Overall, Kong: Skull Island is a stunning film filled to the brim with colour, charming effects and great performances. However, it is a little light on character development and that tone issue is frustrating at times, but as a precursor to a mighty monster battle, it does a fine job in continuing the franchise and setting its future.
Leaving the cinema, though, I was left with a concern for when the two behemoths, Godzilla and Kong, finally meet. Each film has given their respective creature a âpersonalityâ, and if one of them must inevitably die, who on earth do you choose to perish?
https://moviemetropolis.net/2017/03/10/beauty-and-the-beast-kong-skull-island-review/
And in Hollywood, size really does matter; therefore the monstrous ape has been given a monumental upgrade featuring an all-star cast and some serious talent behind the camera. But is Kong: Skull Island as bananas as its trailers would suggest? Or are we looking at something a little more mainstream?
At the climax of the Vietnam War, a team of explorers and mercenaries head to an unchartered island in the South Pacific in an effort to document its inhabitants. Little do they know they are crossing into the domain of vicious man-eating monsters and the legendary Kong.
With a cast that includes Tom Hiddleston, Brie Larson, John Goodman, Samuel L Jackson and John C Reilly, youâd be forgiven for thinking everything is hunky dory over on Skull Island, but this spectacular film isnât without its flaws. A lack of character development and a severe tonal imbalance mean itâs a beautiful near miss that thankfully manages to pull itself up from a crash landing.
Jordan Vogt-Roberts in his first big budget feature directs a film that is absolutely staggering to watch, with stunning cinematography and exceptionally well-choreographed battles between the gigantic ape and his many adversaries. Giving indie directors the chance to work with big studios to produce blockbusters is something that seems incredibly popular at the moment.
After all, Gareth Edwards took up the challenge of rebooting Godzilla in 2013 with stunning results and Colin Trevorrow was entrusted by Steven Spielberg to rekindle the publicâs love affair with Jurassic Park back in 2015 and that worked a treat too.
Here, Vogt-Roberts utilises both of those franchises to great effect, even managing to shoehorn a tasteful reference to Samuel L Jacksonâs Jurassic Park character, Ray Arnold. Elsewhere, though, the film falls a little flat. The constant switch in tone from comedy to action leaves a sour taste in the mouth, though John C Reillyâs stranded pilot is a pleasure to watch and lightens up proceedings.
Tom Hiddleston does well in the leading role, though as an SAS operative, he feels a little miscast and Samuel L Jacksonâs Preston Packard is immensely dislikeable and his gripe with Kong is forced. It creates a subplot that doesnât really need to be there.
The special effects, however, are top notch, helped by the splendid cinematography. The gorgeous sunsets and sweeping tropical landscapes have a whiff of Apocalypse Now and the misty terrain brings back memories of Jurassic Parkâs first sequel, The Lost World.
Overall, Kong: Skull Island is a stunning film filled to the brim with colour, charming effects and great performances. However, it is a little light on character development and that tone issue is frustrating at times, but as a precursor to a mighty monster battle, it does a fine job in continuing the franchise and setting its future.
Leaving the cinema, though, I was left with a concern for when the two behemoths, Godzilla and Kong, finally meet. Each film has given their respective creature a âpersonalityâ, and if one of them must inevitably die, who on earth do you choose to perish?
https://moviemetropolis.net/2017/03/10/beauty-and-the-beast-kong-skull-island-review/
Bob Mann (459 KP) rated Spielberg (2017) in Movies
Sep 29, 2021
On making Drew Barrymore cry.
âSpielbergâ is an HBO-produced documentary by documentarian Susan Lacy. Youâll never guess who the subject is?!
Steven Spielberg is a product of one of the most surprising revolutions in Hollywood in the late 70âs: one of a set of wunderkind directors alongside such luminaries as George Lucas, Francis Ford Coppola, John Milius, Brian De Palma and Martin Scorcese. These men (only men, it should be noted!) were ready to cock a snook at Hollywoodâs traditional studio system to break rules (case in point, Star Warsâ lack of opening credits) and move cinema into the format that would last to this day.
As this excellent documentary makes clear, Spielberg was one of the least rebellious of the movie-brats. Even though (astoundingly) he blagged himself a production office at Universal (after hiding during the Tram Tour toilet stop!), his path to the top was through hard graft on multiple Universal TV shows, after recognition of his talents by Universal exec Sidney Sheinberg who speaks in the film.
Before we get to that stage of his life, we cover his childhood back-story as a reluctant Jew living in a non-Jewish neighbourhood, driven to fill his time with tormenting his sisters and movie-making with a Super 8 camera. Scenes of home videos, photos and his early attempts at special effects are all fascinating. The impact of his Bohemian mother Leah and workaholic father Arnold, and particularly the very surprising relationship breakdown that happened between them, go a long way to explain the constant return to âfather issuesâ in many of his films such as âE.T.â, âClose Encounters of the Third Kindâ, âHookâ and âIndiana Jones and the Last Crusadeâ.
The majority of the film though settles down into a roughly chronological review of the highlights of his movie career, with particular emphasis justly being placed on some of the key watershed moments in that career. Most of his films get at least a mention, but âJawsâ, âE.T.â, âSchindlerâs Listâ, âThe Color Purpleâ, âJurassic Parkâ, âMunichâ and âEmpire of the Sunâ get more focus. It is such a wonderful trip down my cinematic memory lane. I also forget just what cinematic majesty and craftsmanship is present in these films: I just hope that at some point this will get a Blu-Ray or DVD release so it can be properly appreciated (rather than viewing it on a tiny airplane screen which is how I watched this): the combination of film clips in here is breathtaking.
As might be expected for a documentary about the great director, there is plenty of âbehind the cameraâ footage on show, some of which is fascinating. Spielberg could always get the very best performances out of the youngsters on set, from Cary Guffey (âToys!!â) in âClose Encountersâ to a heartbreaking scene where he reduces the young Drew Barrymore to howls of emotion in âE.T.â. A master at work.
All of the movie scenes are accompanied by new interview footage from Spielberg himself, as well as warm platitudes from many of the luminaries he has worked with in the past. Directors involved include many of the the directors referenced above, as well as those modern directors influenced by him such as J.J. Abrams; his go-to cinematographers Vilmos Zsigmond and Janusz Kaminski; his âgo-toâ composer John Williams; and stars including his go-to âeverymanâ Richard Dreyfuss, Tom Cruise, Harrison Ford, Bob Balaban, Tom Hanks, Opray Winfrey, Leonardo DiCaprio, Christian Bale, Dustin Hoffman and James Brolin. Some of these comments are useful and insightful; some are just fairly meaningless sound bites that add nothing to the film. What all the comments are though is almost all uniformly positive.
And thatâs my only criticism of the film. Like me, Susan Lacy is clearly a big fan. It is probably quite hard to find anyone who isnâtâŚ. but perhaps Ms Lacy should have tried a bit harder! There is only limited focus on his big comedy flop of 1979, â1941â, and no mention at all of his lowest WW grossing film âAlwaysâ. And there are only a few contributors â notably film critic Janet Maslin â who are willing to stick their head above the parapet and prod into Spielbergâs weaknesses; ostensibly his tendency to veer to the sentimental and away from harder issues: the omitted âColor Purpleâ âmirror sceneâ being a case in point.
This is a recommended watch for Spielberg fans. On the eve of the launch of his latest â âReady Player Oneâ, a film that I am personally dubious about from the trailer â itâs a great insight into the life and works of the great man. It could though have cut a slightly harder and more critical edge.
Steven Spielberg is a product of one of the most surprising revolutions in Hollywood in the late 70âs: one of a set of wunderkind directors alongside such luminaries as George Lucas, Francis Ford Coppola, John Milius, Brian De Palma and Martin Scorcese. These men (only men, it should be noted!) were ready to cock a snook at Hollywoodâs traditional studio system to break rules (case in point, Star Warsâ lack of opening credits) and move cinema into the format that would last to this day.
As this excellent documentary makes clear, Spielberg was one of the least rebellious of the movie-brats. Even though (astoundingly) he blagged himself a production office at Universal (after hiding during the Tram Tour toilet stop!), his path to the top was through hard graft on multiple Universal TV shows, after recognition of his talents by Universal exec Sidney Sheinberg who speaks in the film.
Before we get to that stage of his life, we cover his childhood back-story as a reluctant Jew living in a non-Jewish neighbourhood, driven to fill his time with tormenting his sisters and movie-making with a Super 8 camera. Scenes of home videos, photos and his early attempts at special effects are all fascinating. The impact of his Bohemian mother Leah and workaholic father Arnold, and particularly the very surprising relationship breakdown that happened between them, go a long way to explain the constant return to âfather issuesâ in many of his films such as âE.T.â, âClose Encounters of the Third Kindâ, âHookâ and âIndiana Jones and the Last Crusadeâ.
The majority of the film though settles down into a roughly chronological review of the highlights of his movie career, with particular emphasis justly being placed on some of the key watershed moments in that career. Most of his films get at least a mention, but âJawsâ, âE.T.â, âSchindlerâs Listâ, âThe Color Purpleâ, âJurassic Parkâ, âMunichâ and âEmpire of the Sunâ get more focus. It is such a wonderful trip down my cinematic memory lane. I also forget just what cinematic majesty and craftsmanship is present in these films: I just hope that at some point this will get a Blu-Ray or DVD release so it can be properly appreciated (rather than viewing it on a tiny airplane screen which is how I watched this): the combination of film clips in here is breathtaking.
As might be expected for a documentary about the great director, there is plenty of âbehind the cameraâ footage on show, some of which is fascinating. Spielberg could always get the very best performances out of the youngsters on set, from Cary Guffey (âToys!!â) in âClose Encountersâ to a heartbreaking scene where he reduces the young Drew Barrymore to howls of emotion in âE.T.â. A master at work.
All of the movie scenes are accompanied by new interview footage from Spielberg himself, as well as warm platitudes from many of the luminaries he has worked with in the past. Directors involved include many of the the directors referenced above, as well as those modern directors influenced by him such as J.J. Abrams; his go-to cinematographers Vilmos Zsigmond and Janusz Kaminski; his âgo-toâ composer John Williams; and stars including his go-to âeverymanâ Richard Dreyfuss, Tom Cruise, Harrison Ford, Bob Balaban, Tom Hanks, Opray Winfrey, Leonardo DiCaprio, Christian Bale, Dustin Hoffman and James Brolin. Some of these comments are useful and insightful; some are just fairly meaningless sound bites that add nothing to the film. What all the comments are though is almost all uniformly positive.
And thatâs my only criticism of the film. Like me, Susan Lacy is clearly a big fan. It is probably quite hard to find anyone who isnâtâŚ. but perhaps Ms Lacy should have tried a bit harder! There is only limited focus on his big comedy flop of 1979, â1941â, and no mention at all of his lowest WW grossing film âAlwaysâ. And there are only a few contributors â notably film critic Janet Maslin â who are willing to stick their head above the parapet and prod into Spielbergâs weaknesses; ostensibly his tendency to veer to the sentimental and away from harder issues: the omitted âColor Purpleâ âmirror sceneâ being a case in point.
This is a recommended watch for Spielberg fans. On the eve of the launch of his latest â âReady Player Oneâ, a film that I am personally dubious about from the trailer â itâs a great insight into the life and works of the great man. It could though have cut a slightly harder and more critical edge.