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Bob Mann (459 KP) rated Bohemian Rhapsody (2018) in Movies
Sep 28, 2021
“Fame and fortune and everything that goes with it”.
Sometimes a trailer generates a bit of a buzz of excitement with a cinema audience and the first showings of the trailer for “Bohemian Rhapsody” was a case in point. But would the film live up to the potential?
The Plot
Farrokh Bulsara (Rami Malek), born in Zanzibar to Indian parents, is a shy boy with a dramatic singing voice. At a concert he meets Mary (Lucy Boynton) who becomes the “love of his life”. When a space for a lead singer becomes available in a college band, Farrokh leaps at the chance and onstage becomes an exuberant extrovert. The band, of course, changes its name to Queen and with Farrokh assuming the name of Freddie Mercury they are set for global success. But Freddie is a complex character, and the demands and temptations of global super-stardom take a terrible toll.
The Review
Wow! What a great film on so many different levels. As a biopic of Mercury and a history of one of the greatest ever rock bands, the film is highly entertaining. But I wasn’t prepared for how emotional I would find it. Mercury’s life is befitting of a Shakespearian tragedy: an estrangement from his ‘conservative’ father (Ace Bhatti); a public extravert, but privately an insecure and needy bi-sexual, constantly searching for his perch in life; a meteoric rise and an equally spectacular and historic fall.
Do you remember where you were (if anywhere!) during the historic Live Aid concert at Wembley in July 1985? My eagle-minded wife had to remind me that we were travelling to Hampshire to house hunt because of my graduate job offer from IBM Hursley Park. My 3 month old daughter was rolling around, unstrapped, in a carry cot on the back seat: different times; different rules! Why this is relevant is that the film culminates in a recreation of the band’s spectacular 20 minute set for 1985’s Live Aid concert at Wembley. It’s a spectacular piece of cinema and one that – for me – puts the much hyped concert scenes from “A Star is Born” back in its box. Aside from a few niggles (the sound engineers in the booth were, if I’m not mistaken, all the size of Hagrid!) it’s a spectacular piece of CGI work.
It’s also worth remembering that whilst today’s massive stadium concerts from the likes of Adele and Coldplay are commonplace, back in the UK of 1985 most of the bands played in more traditional theatre venues: this really was an historic event on so many levels.
If I’m being critical, there are a few bits of the movie that are a tad tacky and twee. A whizz around the world of tour locations is composed of some pretty ropy animations that didn’t work for me. And a few of the ‘creations’ of classic songs – particularly “Another One Bites the Dust” – are a bit forced. Countering that though, the “Bohemian Rhapsody” is mesmerising.
The Turns
I’ll just put it right out there, Rami Malek is just sensational as Mercury! I first called out Malek as someone to watch in “Need For Speed“, but since then he’s gone on to major fame in the TV series “Mr Robot”. Here he is a force of nature on the screen and you literally can’t take your eyes off him. Every nuance of Mercury’s tortured soul is up there. I would love to see the performance recognized in the Awards season, with the showreel clip being a brilliant standoff in the rain with Paul Prenter (“Downton’s” Allen Leech).
The rest of the band – Ben Hardy as drummer Roger Taylor; Gwilym Lee as lead guitar Brian May; and Joseph Mazzello (yes, young Tim from “Jurassic Park”!) as bass guitarist John Deacon – all work well together, with Lee looking more like Brian May than Brian May!
Lucy Boynton, so great in “Sing Street“, gets a meaty dramatic role to sink her teeth into, and the ever-reliable Tom Hollander is great as the band’s legal rep/manager Jim “Miami” Beech: his ‘knowing looks’ near the end of the film are brilliantly done.
The surprise piece of casting though was the very welcome return of Mike Myers as the exec Ray Foster: only seen spasmodically on screen since 2009’s “Inglorious Basterds”. It’s a role that reminded me of Tom Cruise‘s turn in “Tropic Thunder”! But it’s well done. After making “Bohemian Rhapsody” famous again in “Wayne’s World”, how could he have refused? I say “Welcome back Mr Myers”: you’ve been missed.
And a final shout out to Paul Jones, my son-in-law’s brother, who gets a full screen appearance in the crowd, arms outstretched, during the “Fat Bottomed Girls” set! (I must admit, I missed it, so will have to go and see it again!)
Final Thoughts
This is a film that grabs you and propels you through the story at a fast lick. It’s a surprisingly moving story, with a well-known and tragic finale. It’s not a perfect film, but it is up there wih the year’s best as a high-energy cinema experience.
The Plot
Farrokh Bulsara (Rami Malek), born in Zanzibar to Indian parents, is a shy boy with a dramatic singing voice. At a concert he meets Mary (Lucy Boynton) who becomes the “love of his life”. When a space for a lead singer becomes available in a college band, Farrokh leaps at the chance and onstage becomes an exuberant extrovert. The band, of course, changes its name to Queen and with Farrokh assuming the name of Freddie Mercury they are set for global success. But Freddie is a complex character, and the demands and temptations of global super-stardom take a terrible toll.
The Review
Wow! What a great film on so many different levels. As a biopic of Mercury and a history of one of the greatest ever rock bands, the film is highly entertaining. But I wasn’t prepared for how emotional I would find it. Mercury’s life is befitting of a Shakespearian tragedy: an estrangement from his ‘conservative’ father (Ace Bhatti); a public extravert, but privately an insecure and needy bi-sexual, constantly searching for his perch in life; a meteoric rise and an equally spectacular and historic fall.
Do you remember where you were (if anywhere!) during the historic Live Aid concert at Wembley in July 1985? My eagle-minded wife had to remind me that we were travelling to Hampshire to house hunt because of my graduate job offer from IBM Hursley Park. My 3 month old daughter was rolling around, unstrapped, in a carry cot on the back seat: different times; different rules! Why this is relevant is that the film culminates in a recreation of the band’s spectacular 20 minute set for 1985’s Live Aid concert at Wembley. It’s a spectacular piece of cinema and one that – for me – puts the much hyped concert scenes from “A Star is Born” back in its box. Aside from a few niggles (the sound engineers in the booth were, if I’m not mistaken, all the size of Hagrid!) it’s a spectacular piece of CGI work.
It’s also worth remembering that whilst today’s massive stadium concerts from the likes of Adele and Coldplay are commonplace, back in the UK of 1985 most of the bands played in more traditional theatre venues: this really was an historic event on so many levels.
If I’m being critical, there are a few bits of the movie that are a tad tacky and twee. A whizz around the world of tour locations is composed of some pretty ropy animations that didn’t work for me. And a few of the ‘creations’ of classic songs – particularly “Another One Bites the Dust” – are a bit forced. Countering that though, the “Bohemian Rhapsody” is mesmerising.
The Turns
I’ll just put it right out there, Rami Malek is just sensational as Mercury! I first called out Malek as someone to watch in “Need For Speed“, but since then he’s gone on to major fame in the TV series “Mr Robot”. Here he is a force of nature on the screen and you literally can’t take your eyes off him. Every nuance of Mercury’s tortured soul is up there. I would love to see the performance recognized in the Awards season, with the showreel clip being a brilliant standoff in the rain with Paul Prenter (“Downton’s” Allen Leech).
The rest of the band – Ben Hardy as drummer Roger Taylor; Gwilym Lee as lead guitar Brian May; and Joseph Mazzello (yes, young Tim from “Jurassic Park”!) as bass guitarist John Deacon – all work well together, with Lee looking more like Brian May than Brian May!
Lucy Boynton, so great in “Sing Street“, gets a meaty dramatic role to sink her teeth into, and the ever-reliable Tom Hollander is great as the band’s legal rep/manager Jim “Miami” Beech: his ‘knowing looks’ near the end of the film are brilliantly done.
The surprise piece of casting though was the very welcome return of Mike Myers as the exec Ray Foster: only seen spasmodically on screen since 2009’s “Inglorious Basterds”. It’s a role that reminded me of Tom Cruise‘s turn in “Tropic Thunder”! But it’s well done. After making “Bohemian Rhapsody” famous again in “Wayne’s World”, how could he have refused? I say “Welcome back Mr Myers”: you’ve been missed.
And a final shout out to Paul Jones, my son-in-law’s brother, who gets a full screen appearance in the crowd, arms outstretched, during the “Fat Bottomed Girls” set! (I must admit, I missed it, so will have to go and see it again!)
Final Thoughts
This is a film that grabs you and propels you through the story at a fast lick. It’s a surprisingly moving story, with a well-known and tragic finale. It’s not a perfect film, but it is up there wih the year’s best as a high-energy cinema experience.
Movie Metropolis (309 KP) rated Mad Max: Fury Road (2015) in Movies
Jun 10, 2019
Cinematic Redbull
Up until a week ago, I was really looking forward to this film. Mad Max as a series has a criminally underestimated impact on our pop culture psyche thanks to its unique aesthetic. Everyone now knows exactly what they want to do in the event of the apocalypse; strap dustbin lids and S&M gear to our bodies.
Then I remembered that other recent reboot of a beloved 80’s sci-fi film, 2014’s Robocop. Specifically, I remembered that it was absolutely awful, a broken train-wreck of a movie that doesn’t understand and full on resents the original film, and drained all the personality out of a film bursting with it. 2012’s Total Recall shared similar problems, so the question came; would this modern reboot of an 80’s genre classic be the first of its kind to match the quality of the original?
The answer is no. It is far, far better.
The original Mad Max films each had the budget of a school nativity play and relied entirely on the scrapyard aesthetic and charismatic villains rather than action. Fury Road, on the other hand, is the cinematic equivalent of Red Bull; fast paced, frenetic and wild. The action sequences are almost constant, only broken up when the audience’s hearts are about to burst, accompanied by one of the most energetic and brilliant soundtracks I’ve ever heard. In the hands of a lesser filmmaker it would be too much to handle, but Miller makes sure to frame and edit each scene in a way that allows the audience to always follow the action.
Visually, the film is much more in line with Alejandro Jodorowsky’s failed Dune adaptation than anything else, with its deformed mutants, impractical clothes and grungy mechanics. Every image on screen is madder than the last; the audience will probably ask “Why does that guy have a flamethrower guitar?” or “Why is there a fat dude in a business suit with his nipples exposed?” and the film just says “Because you wanted to see it and didn’t know you did.” And it is totally right. Like Big Game, the landscapes are achingly beautiful too, turning a barren desert into a sea of colours.
The plot is utter gibberish; there is absolutely no reason that any series of events would lead to the world looking the way it does and the characters looking and acting the way they do. Most films would be ashamed of this and try to handwave it away or explain it; Fury Road, however, takes the smarter option, and full on embraces the insanity. Characters spout lines like “I have seen the three gates” and “You will ride with silver and chrome” without irony, and it all just works, sweeping the audience up into a world where logic is superfluous as long as what you’re saying is cool.
This wouldn’t work if the acting wasn’t on point, but every single actor is completely game for the madcap lunacy that is the
script. Everyone sings their lines, which might be nonsense but just sound so good. The only weak spot is Tom Hardy as Max himself, who tries to be a calming anchor to contrast everyone else but instead seems like he came out of a different, much more boring film. In fact, Max seems here only so the film can be called Mad Max, because really it is Charlize Theron’s movie; Imperator Furiosa is the true main character and Theron easily gives the most nuanced performance.
Upon seeing this film, I genuinely had to go for a jog to get all of the energy out of me. This film is mad glory from beginning to end, a fireworks show for the eyes and ears. One of the best action films of the year in an already good year for the genre. Certainly a much better reboot than Robocop. Now if you excuse me, I’m going to make a suit of armour out of washing machine parts and ball gags.
https://moviemetropolis.net/2015/05/19/cinematic-red-bull-mad-max-fury-road-review/
Then I remembered that other recent reboot of a beloved 80’s sci-fi film, 2014’s Robocop. Specifically, I remembered that it was absolutely awful, a broken train-wreck of a movie that doesn’t understand and full on resents the original film, and drained all the personality out of a film bursting with it. 2012’s Total Recall shared similar problems, so the question came; would this modern reboot of an 80’s genre classic be the first of its kind to match the quality of the original?
The answer is no. It is far, far better.
The original Mad Max films each had the budget of a school nativity play and relied entirely on the scrapyard aesthetic and charismatic villains rather than action. Fury Road, on the other hand, is the cinematic equivalent of Red Bull; fast paced, frenetic and wild. The action sequences are almost constant, only broken up when the audience’s hearts are about to burst, accompanied by one of the most energetic and brilliant soundtracks I’ve ever heard. In the hands of a lesser filmmaker it would be too much to handle, but Miller makes sure to frame and edit each scene in a way that allows the audience to always follow the action.
Visually, the film is much more in line with Alejandro Jodorowsky’s failed Dune adaptation than anything else, with its deformed mutants, impractical clothes and grungy mechanics. Every image on screen is madder than the last; the audience will probably ask “Why does that guy have a flamethrower guitar?” or “Why is there a fat dude in a business suit with his nipples exposed?” and the film just says “Because you wanted to see it and didn’t know you did.” And it is totally right. Like Big Game, the landscapes are achingly beautiful too, turning a barren desert into a sea of colours.
The plot is utter gibberish; there is absolutely no reason that any series of events would lead to the world looking the way it does and the characters looking and acting the way they do. Most films would be ashamed of this and try to handwave it away or explain it; Fury Road, however, takes the smarter option, and full on embraces the insanity. Characters spout lines like “I have seen the three gates” and “You will ride with silver and chrome” without irony, and it all just works, sweeping the audience up into a world where logic is superfluous as long as what you’re saying is cool.
This wouldn’t work if the acting wasn’t on point, but every single actor is completely game for the madcap lunacy that is the
script. Everyone sings their lines, which might be nonsense but just sound so good. The only weak spot is Tom Hardy as Max himself, who tries to be a calming anchor to contrast everyone else but instead seems like he came out of a different, much more boring film. In fact, Max seems here only so the film can be called Mad Max, because really it is Charlize Theron’s movie; Imperator Furiosa is the true main character and Theron easily gives the most nuanced performance.
Upon seeing this film, I genuinely had to go for a jog to get all of the energy out of me. This film is mad glory from beginning to end, a fireworks show for the eyes and ears. One of the best action films of the year in an already good year for the genre. Certainly a much better reboot than Robocop. Now if you excuse me, I’m going to make a suit of armour out of washing machine parts and ball gags.
https://moviemetropolis.net/2015/05/19/cinematic-red-bull-mad-max-fury-road-review/
BankofMarquis (1832 KP) rated The Dark Knight Rises (2012) in Movies
Jun 27, 2018
A "good enough" ending to the trilogy
Going into the filming of THE DARK KNIGHT RISES, Director Christopher Nolan had a problem on his hands. The previous film in this trilogy - 2008's THE DARK KNIGHT - had turned into a cultural phenomenon based, in part, on the late Heath Ledger's bravura performance as The Joker. So how does he top it?
The quick answer is - you don't, so don't even try.
THE DARK KNIGHT RISES is a satisfactory conclusion to the Dark Knight trilogy that started with 2005's BATMAN BEGINS and, again stars Christian Bale as Bruce Wayne/Batman, the "Dark Knight".
What Director Nolan wisely does is continue his dark tone with this film, but does not even mention The Joker (or Ledger) in this film. Let the memories of the past films be just that - memories - and let this film stand on it's own.
And it does, for the most part.
Taking place 8 years after the events of THE DARK KNIGHT, this film has Batman coming out of self-imposed "retirement" to, yet again, save Gotham City from the clutches of a bad guy - this time, the masked Bane. In the course of this film Batman is torn down, to be risen and reborn again as the shining light of good over evil, shedding the "Dark Knight" moniker once and for all.
Nolan - and his brother, and frequent collaborator, Jonathan - wrote the screenplay and it is...serviceable. Nothing really remarkable about the story and plot. It gives each one of our returning characters - Lucious Fox (Morgan Freeman), Alfred Pennyworth (Michael Caine) and - especially - Commissioner Gordon (Gary Oldman) room to shine along with other, new characters like Selina Kyle/Catwoman (a really good Anne Hathaway), Officer Blake (Joseph Gordon-Levitt) Miranda Tate (Marion Cotillard) and, of course, Bane (Tom Hardy).
As you might be able to see, ALL of these actors are members of Nolan's "troupe" of actors - they either have been in other Nolan films (or, in the case of Hathaway, WILL be in another Nolan film) and each of them appear on the screen with gusto and a quiet confidence in their characters and a trust in a filmmaker that comes from frequent collaborations.
In the lead, Bale, of course, gives his usual, strong performance, though I did detect a hint of weariness in the performance. Now...some will say that is because the character is becoming weary, but I think it is more to the case that Bale was growing weary of playing this character.
But that is a quibble for all of the characters/actors do a terrific/professional job pushing the plot forward, which (let's admit) is just an excuse to go from one gigantic battle/chase scene to another and...Nolan certainly knows how to do these.
From the opening to close, every one of these gigantic "set pieces" held my attention and I found myself - even though I have seen this film before - sitting on the edge of my seat as the good guys - led by Batman - raced time to thwart the machinations of the bad guys in the end.
I'm glad these action sequences held my attention, for there are, inexplicably, looooong sections of this film where there is no action, but "character development" and "growth from strong internal retrospection." This sort of thing might have looked good on the page, but it is rather dull and boring when put on the screen. This film is almost 3 hours long, and - if Mr. Nolan would like to contact me - I can suggest a few spots where we can trim about 20-30 minutes out of this film, starting with the long stretch where Bruce Wayne is imprisoned.
But...these stretches are tolerable when you know it will lead you to some really fine action sequences featuring character/actors that you care about and are actually rooting for them to succeed. As I stated before, this is an "agreeable" conclusion to the trilogy. One who's journey I was glad to be one, but - to be honest - one that I was glad was over as well.
Letter Grade: B+
7 1/2 (out of 10) stars and you can take that to the Bank (ofMarquis)
The quick answer is - you don't, so don't even try.
THE DARK KNIGHT RISES is a satisfactory conclusion to the Dark Knight trilogy that started with 2005's BATMAN BEGINS and, again stars Christian Bale as Bruce Wayne/Batman, the "Dark Knight".
What Director Nolan wisely does is continue his dark tone with this film, but does not even mention The Joker (or Ledger) in this film. Let the memories of the past films be just that - memories - and let this film stand on it's own.
And it does, for the most part.
Taking place 8 years after the events of THE DARK KNIGHT, this film has Batman coming out of self-imposed "retirement" to, yet again, save Gotham City from the clutches of a bad guy - this time, the masked Bane. In the course of this film Batman is torn down, to be risen and reborn again as the shining light of good over evil, shedding the "Dark Knight" moniker once and for all.
Nolan - and his brother, and frequent collaborator, Jonathan - wrote the screenplay and it is...serviceable. Nothing really remarkable about the story and plot. It gives each one of our returning characters - Lucious Fox (Morgan Freeman), Alfred Pennyworth (Michael Caine) and - especially - Commissioner Gordon (Gary Oldman) room to shine along with other, new characters like Selina Kyle/Catwoman (a really good Anne Hathaway), Officer Blake (Joseph Gordon-Levitt) Miranda Tate (Marion Cotillard) and, of course, Bane (Tom Hardy).
As you might be able to see, ALL of these actors are members of Nolan's "troupe" of actors - they either have been in other Nolan films (or, in the case of Hathaway, WILL be in another Nolan film) and each of them appear on the screen with gusto and a quiet confidence in their characters and a trust in a filmmaker that comes from frequent collaborations.
In the lead, Bale, of course, gives his usual, strong performance, though I did detect a hint of weariness in the performance. Now...some will say that is because the character is becoming weary, but I think it is more to the case that Bale was growing weary of playing this character.
But that is a quibble for all of the characters/actors do a terrific/professional job pushing the plot forward, which (let's admit) is just an excuse to go from one gigantic battle/chase scene to another and...Nolan certainly knows how to do these.
From the opening to close, every one of these gigantic "set pieces" held my attention and I found myself - even though I have seen this film before - sitting on the edge of my seat as the good guys - led by Batman - raced time to thwart the machinations of the bad guys in the end.
I'm glad these action sequences held my attention, for there are, inexplicably, looooong sections of this film where there is no action, but "character development" and "growth from strong internal retrospection." This sort of thing might have looked good on the page, but it is rather dull and boring when put on the screen. This film is almost 3 hours long, and - if Mr. Nolan would like to contact me - I can suggest a few spots where we can trim about 20-30 minutes out of this film, starting with the long stretch where Bruce Wayne is imprisoned.
But...these stretches are tolerable when you know it will lead you to some really fine action sequences featuring character/actors that you care about and are actually rooting for them to succeed. As I stated before, this is an "agreeable" conclusion to the trilogy. One who's journey I was glad to be one, but - to be honest - one that I was glad was over as well.
Letter Grade: B+
7 1/2 (out of 10) stars and you can take that to the Bank (ofMarquis)
Emma @ The Movies (1786 KP) rated Venom (2018) in Movies
Sep 25, 2019
I went into the screen with wildly low expectations for Venom, nothing in the trailer had me on the edge of my seat. In the run up to me going there were more and more reviews appearing saying that it was bad, not that I read any of them. So many people just felt the need to put it right in the title... yes, yes, but much more obvious than mine!!
But you know what? It wasn't bad. That's not to say it was good, but it wasn't bad. I didn't laugh anywhere near as much as everyone else did, but it did have some funny bits in it. I'm sorry though, "blowing like a turd in the wind"? Not funny. Wasn't funny in the trailer, not funny in the film.
Full disclosure, I've booked to see this again. Not because I enjoyed it so much but because the people who were watching it in the screen with me were the noisiest people on the planet.
I understand that they couldn't accurately do Venom's origin story as it invilves Spider-man but I'm not sure how I felt about this version of events. Also, if a super nerd out there could help me out... I thought that Venom was the name for the combined host and symbiote, but in the film the symbiote is called Venom... which way is correct?
There are some great bits between Eddie and Venom. Venom obviously thinks Eddie is a bit of a wimp and doesn't mind pointing it out. He's embarrassed by him putting his hands up in surrender and by him being unwilling to jump out of an upper floor window. Both bring amusing exchanges.
When we see the duo fighting and evading the tac team in the early part of the film all I could think was how reminiscent of Upgrade it was when he was being controlled by Venom. I also got flashes of other Marvel offerings, specifically Hulk. Venom tossing people around by their feet, then witnessing him fight Riot gave me flashbacks of Hulk and The Abomination. The latter was a lot easier to watch than the fight between this new pair though. It was way too chaotic, and almost impossible to figure out exactly what was happening.
In general I'm not a fan of the CGI symbiotes, they look a lot more cartoony and feel slightly unfinished, like there's a layer missing to make them more realistic. I also wasn't overly keen on much of the acting, I found Tom Hardy to be lacking and didn't find Eddie Brock to be very dynamic for an investigative journalist.
The first of the credit scenes lines us up with a potential sequel with a quick appearence by Woody Harrelson as Cletus Kasady who historically was the original host for Carnage. Harrelson has grown on me immensely in recent years with his acting and it would be a shame not to see him given this serial killers' role in the Universe... but with a film that feels like it fits more in the Maguire era of Spider-man movies I personally can't see a sequel from Venom doing him justice.
The second credit scene felt a little like a cheat to me as it wasn't anything to do with the film. It was entertaining despite that though. A little lighthearted humour but it felt completely out of place, it was much more like a short you would watch before the main event. Perhaps it would have been better as a "feature length" trailer than a credit scene.
What should you do?
You should probably see it. In my opinion it doesn't compare to any of the other "super" movies, and he isn't going to become my favourite anti-hero, but it is a reasonable diversion and the humour that's there isn't that bad.
Movie thing you wish you could take home
If I could have a symbiote that won't kill be and wouldn't look so crazy then I think I'd probably see where it took me.
But you know what? It wasn't bad. That's not to say it was good, but it wasn't bad. I didn't laugh anywhere near as much as everyone else did, but it did have some funny bits in it. I'm sorry though, "blowing like a turd in the wind"? Not funny. Wasn't funny in the trailer, not funny in the film.
Full disclosure, I've booked to see this again. Not because I enjoyed it so much but because the people who were watching it in the screen with me were the noisiest people on the planet.
I understand that they couldn't accurately do Venom's origin story as it invilves Spider-man but I'm not sure how I felt about this version of events. Also, if a super nerd out there could help me out... I thought that Venom was the name for the combined host and symbiote, but in the film the symbiote is called Venom... which way is correct?
There are some great bits between Eddie and Venom. Venom obviously thinks Eddie is a bit of a wimp and doesn't mind pointing it out. He's embarrassed by him putting his hands up in surrender and by him being unwilling to jump out of an upper floor window. Both bring amusing exchanges.
When we see the duo fighting and evading the tac team in the early part of the film all I could think was how reminiscent of Upgrade it was when he was being controlled by Venom. I also got flashes of other Marvel offerings, specifically Hulk. Venom tossing people around by their feet, then witnessing him fight Riot gave me flashbacks of Hulk and The Abomination. The latter was a lot easier to watch than the fight between this new pair though. It was way too chaotic, and almost impossible to figure out exactly what was happening.
In general I'm not a fan of the CGI symbiotes, they look a lot more cartoony and feel slightly unfinished, like there's a layer missing to make them more realistic. I also wasn't overly keen on much of the acting, I found Tom Hardy to be lacking and didn't find Eddie Brock to be very dynamic for an investigative journalist.
The first of the credit scenes lines us up with a potential sequel with a quick appearence by Woody Harrelson as Cletus Kasady who historically was the original host for Carnage. Harrelson has grown on me immensely in recent years with his acting and it would be a shame not to see him given this serial killers' role in the Universe... but with a film that feels like it fits more in the Maguire era of Spider-man movies I personally can't see a sequel from Venom doing him justice.
The second credit scene felt a little like a cheat to me as it wasn't anything to do with the film. It was entertaining despite that though. A little lighthearted humour but it felt completely out of place, it was much more like a short you would watch before the main event. Perhaps it would have been better as a "feature length" trailer than a credit scene.
What should you do?
You should probably see it. In my opinion it doesn't compare to any of the other "super" movies, and he isn't going to become my favourite anti-hero, but it is a reasonable diversion and the humour that's there isn't that bad.
Movie thing you wish you could take home
If I could have a symbiote that won't kill be and wouldn't look so crazy then I think I'd probably see where it took me.
James P. Sumner (65 KP) rated Angel Has Fallen (2019) in Movies
Aug 21, 2019
Is the third time a charm for Mr. Butler's action thriller series?
Gerard Butler returns as Secret Service agent Mike Banning in the third entry of the "Fallen" series, picking up where London Has Fallen left off.
We see an aging and sore Banning, struggling with the rigors of his profession, torn between his love for his duty to protect the President and the smart, semi-retirement position as Secret Service Director.
This takes a little while to get going compared to most films in the genre, but it isn't too long before everything goes sideways and Banning finds himself on the run from everyone, framed for something we all know he didn't do. The question is: who did it?
Drawing obvious inspiration from classic genre entries like Die Hard, as well as more modern offerings like John Wick, Gerard Butler takes on everyone from both sides of the law as he tries to get to the bottom of the conspiracy.
Aside from the slightly slow start, the pacing of this film is spot-on, mixing balls-to-the-wall action with gripping tension - accompanied by a very clever soundtrack that enhances the experience well.
The dialogue feels real and meaningful. There's nothing cheesy, no scene-filling conversations or anything, which is always a genuine concern with this type of film. Everything is done with a purpose.
I think perhaps too much effort was made to make this a 15-certificate (an R-rating for you lovely Americans). It was more for the language than anything. The violence and fighting was well-choreographed, taking the up-close, gritty approach akin to the Bourne movies, but there was nothing here that wouldn't have made the cut for a 12A. I think they gambled with the post-Deadpool debate of having a wider audience for a 12A vs. the "it's a 15, therefore it must be good because kids aren't allowed" appeal. I'm not saying it ruins the movie, I just think it was unnecessary. The aforementioned Deadpool, for example, absolutely wouldn't have worked if it was less than a 15, so I get why they made it the way the did. But with this, it would've been the exact same film either way, so why cut out a sizable portion of cinema-goers?
That being said, I did really, really enjoy this film. Is it predictable? Sadly, yes. That probably isn't THAT shocking of a revelation, as these types of films tend to follow a similar (and usually winning) formula, but I confess to being a little disappointed that I was able to figure out the main antagonist and the overall "big bad" within three minutes of the film starting. However, to this film's credit, this predictability doesn't take away from the experience at all. It's quite honest about what it is from the get-go, and it simply doesn't care. It does what it sets out to do, and it does it very well - better than a lot of similar movies in recent times. As with all films in this genre, people tend to watch them knowing what they're getting themselves in for, so you can just relax, switch off, and enjoy the ride for a couple of hours.
I can't sign off without mentioning Nick Nolte's turn as Butler's father. His performance, while not surprising, feels almost out-of-place, as it's so damn good he deserves an Oscar nod. He probably won't get one, as films like this tend not to get noticed by the Academy, but let me tell you, he steals every scene he's in, and you feel every word he says. There's an obvious comparison to the character he portrayed in Warrior, alongside Tom Hardy and Joel Edgerton. While he gets nowhere near as much screen time here, he makes the most of what he does get, and it truly is the stand-out performance of the year so far, by a long way.
This film is a solid 7/10, and I highly recommend it. I bumped it to an 8/10 because of Nick Nolte. If I could go back and just watch his scenes again, I would. Grab the popcorn, forget about the outside world... you could do a lot worse at the cinema right now than this.
We see an aging and sore Banning, struggling with the rigors of his profession, torn between his love for his duty to protect the President and the smart, semi-retirement position as Secret Service Director.
This takes a little while to get going compared to most films in the genre, but it isn't too long before everything goes sideways and Banning finds himself on the run from everyone, framed for something we all know he didn't do. The question is: who did it?
Drawing obvious inspiration from classic genre entries like Die Hard, as well as more modern offerings like John Wick, Gerard Butler takes on everyone from both sides of the law as he tries to get to the bottom of the conspiracy.
Aside from the slightly slow start, the pacing of this film is spot-on, mixing balls-to-the-wall action with gripping tension - accompanied by a very clever soundtrack that enhances the experience well.
The dialogue feels real and meaningful. There's nothing cheesy, no scene-filling conversations or anything, which is always a genuine concern with this type of film. Everything is done with a purpose.
I think perhaps too much effort was made to make this a 15-certificate (an R-rating for you lovely Americans). It was more for the language than anything. The violence and fighting was well-choreographed, taking the up-close, gritty approach akin to the Bourne movies, but there was nothing here that wouldn't have made the cut for a 12A. I think they gambled with the post-Deadpool debate of having a wider audience for a 12A vs. the "it's a 15, therefore it must be good because kids aren't allowed" appeal. I'm not saying it ruins the movie, I just think it was unnecessary. The aforementioned Deadpool, for example, absolutely wouldn't have worked if it was less than a 15, so I get why they made it the way the did. But with this, it would've been the exact same film either way, so why cut out a sizable portion of cinema-goers?
That being said, I did really, really enjoy this film. Is it predictable? Sadly, yes. That probably isn't THAT shocking of a revelation, as these types of films tend to follow a similar (and usually winning) formula, but I confess to being a little disappointed that I was able to figure out the main antagonist and the overall "big bad" within three minutes of the film starting. However, to this film's credit, this predictability doesn't take away from the experience at all. It's quite honest about what it is from the get-go, and it simply doesn't care. It does what it sets out to do, and it does it very well - better than a lot of similar movies in recent times. As with all films in this genre, people tend to watch them knowing what they're getting themselves in for, so you can just relax, switch off, and enjoy the ride for a couple of hours.
I can't sign off without mentioning Nick Nolte's turn as Butler's father. His performance, while not surprising, feels almost out-of-place, as it's so damn good he deserves an Oscar nod. He probably won't get one, as films like this tend not to get noticed by the Academy, but let me tell you, he steals every scene he's in, and you feel every word he says. There's an obvious comparison to the character he portrayed in Warrior, alongside Tom Hardy and Joel Edgerton. While he gets nowhere near as much screen time here, he makes the most of what he does get, and it truly is the stand-out performance of the year so far, by a long way.
This film is a solid 7/10, and I highly recommend it. I bumped it to an 8/10 because of Nick Nolte. If I could go back and just watch his scenes again, I would. Grab the popcorn, forget about the outside world... you could do a lot worse at the cinema right now than this.
Gareth von Kallenbach (980 KP) rated Venom: Let There Be Carnage (2021) in Movies
Sep 30, 2021
Venom: Let There Be Carnage Has Some Moments But Could Have Been So Much More
When audiences last saw Eddie Brock (Tom Hardy); the journalist and his parasitic symbiote Venom; had just saved the day and cemented their unusual bond with one another.
In the new film “Venom: Let There Be Carnage”; Eddie and Venom are at the end of their Honeymoon phase as Venom is lingering to be free to eat bad people and do what is natural for him. Eddie meanwhile wants a more conservative approach feeding Venom chicken and chocolate as he knows the eyes of the authorities are still upon him and he has to convince the world that Venom is dead and no longer a threat.
At the same time; serial killer Cletus Kasady (Woody Harrelson) has selected Eddie to interview him in San Quentin and the two form an unusual connection as Cletus cryptically speaks to Eddie which underlines a deeper motivation.
With the help of Venom; Eddie is able to decipher clues found on the walls of Cletus’s cell which leads authorities to several of his victims. This results in a rapid rise in status for Eddie and fast tracks Cletus for execution as his main means of leverage is now gone.
This leads to a rift where Eddie and Venom split and each has to struggle to adjust to life without one another.
At this point, the film has mainly been odd bits of whimsy between Venom and Eddie around the establishment of the plot and threat. However, things go into chaos mode when Cletus becomes infected with a Symbiote and turns into a destruction spewing death machine known as “Carnage”.
Cletus and Carnage both have their own agendas and Cletus uses Carnage to exact his revenge as well as locate a figure from his past that is as big a danger as he is.
As any fan of films of this genre knows; this scenario leads to a showdown between the central characters which are awash in abundant CGI, loud noises, and destruction. While this is not a bad thing and certainly one of the main reasons I enjoy films of this type; the film never seemed to fully click for me and as such was not as good as I thought it could have been.
In many ways, the film reminded me of how comic-based films were done before Marvel started their own studios and their phenomenal run of hits based on their work.
There have been multiple attempts to adapt comics into films over the last few decades and many of them have not lived up to expectations or failed outright. One of the biggest reasons is in my opinion is that those behind the projects were hindered by the studio, wanted to put their own spin on the material and strayed from the source; or failed to show the attributes that made the characters so appealing to fans.
What we often get is action sequences and CGI galore but without stories or characters that fully draw in the audience and fail to capture the essence of the comics.
Director Andy Serkis has done a great job with the visuals of the film but the tone seems off. The early part of the film is filled with comedic moments that are either hit or miss. Some of which was almost to the point where I wondered if it was supposed to be a parody.
The plot is fairly linear with nothing unexpected as it is simply bad guys get loose; bad guys cause death and destruction, can the heroes stop them. The climactic scene lacks any “wow” moments for me as it was mainly CGI characters rapidly moving around causing damage to one another and their environment. There was no real tension for me and the ultimate resolution seemed a bit anti-climactic.
For me the best moment of the film was a mid-credits scene that really popped as it sets up all sorts of interesting options and indicates that Venom may be about to graduate to bigger and better things.
For now; the cast is solid as is the CGI; I just wish the story was more engaging as it had the potential to be so much more.
3 stars out of 5
In the new film “Venom: Let There Be Carnage”; Eddie and Venom are at the end of their Honeymoon phase as Venom is lingering to be free to eat bad people and do what is natural for him. Eddie meanwhile wants a more conservative approach feeding Venom chicken and chocolate as he knows the eyes of the authorities are still upon him and he has to convince the world that Venom is dead and no longer a threat.
At the same time; serial killer Cletus Kasady (Woody Harrelson) has selected Eddie to interview him in San Quentin and the two form an unusual connection as Cletus cryptically speaks to Eddie which underlines a deeper motivation.
With the help of Venom; Eddie is able to decipher clues found on the walls of Cletus’s cell which leads authorities to several of his victims. This results in a rapid rise in status for Eddie and fast tracks Cletus for execution as his main means of leverage is now gone.
This leads to a rift where Eddie and Venom split and each has to struggle to adjust to life without one another.
At this point, the film has mainly been odd bits of whimsy between Venom and Eddie around the establishment of the plot and threat. However, things go into chaos mode when Cletus becomes infected with a Symbiote and turns into a destruction spewing death machine known as “Carnage”.
Cletus and Carnage both have their own agendas and Cletus uses Carnage to exact his revenge as well as locate a figure from his past that is as big a danger as he is.
As any fan of films of this genre knows; this scenario leads to a showdown between the central characters which are awash in abundant CGI, loud noises, and destruction. While this is not a bad thing and certainly one of the main reasons I enjoy films of this type; the film never seemed to fully click for me and as such was not as good as I thought it could have been.
In many ways, the film reminded me of how comic-based films were done before Marvel started their own studios and their phenomenal run of hits based on their work.
There have been multiple attempts to adapt comics into films over the last few decades and many of them have not lived up to expectations or failed outright. One of the biggest reasons is in my opinion is that those behind the projects were hindered by the studio, wanted to put their own spin on the material and strayed from the source; or failed to show the attributes that made the characters so appealing to fans.
What we often get is action sequences and CGI galore but without stories or characters that fully draw in the audience and fail to capture the essence of the comics.
Director Andy Serkis has done a great job with the visuals of the film but the tone seems off. The early part of the film is filled with comedic moments that are either hit or miss. Some of which was almost to the point where I wondered if it was supposed to be a parody.
The plot is fairly linear with nothing unexpected as it is simply bad guys get loose; bad guys cause death and destruction, can the heroes stop them. The climactic scene lacks any “wow” moments for me as it was mainly CGI characters rapidly moving around causing damage to one another and their environment. There was no real tension for me and the ultimate resolution seemed a bit anti-climactic.
For me the best moment of the film was a mid-credits scene that really popped as it sets up all sorts of interesting options and indicates that Venom may be about to graduate to bigger and better things.
For now; the cast is solid as is the CGI; I just wish the story was more engaging as it had the potential to be so much more.
3 stars out of 5
Gareth von Kallenbach (980 KP) rated Bohemian Rhapsody (2018) in Movies
Jul 2, 2019
How many of these reviews are going to start with “Is this the real life? Is this just fantasy?” A lot I am willing to bet. The thing is, it’s a good way to start. Bohemian Rhapsody has been a highly anticipated film for many years. I remember back when they were considering Johnny Depp for Freddie Mercury. Then it was Sasha Baren Cohen. And then they announced Rami Malek, and a majority of the country went, “Who?” Rami Malek is mostly known for his work as the lead in the USA Network series Mr. Robot. He got his start in the Night at the Museum series, and has scene big screen time in Need for Speed and, most recently, Papillion alongside Charlie Hunnam. I think it’s safe to say that after November 2, 2018, people will definitely know who he is.
Named for Queen’s most successful song in their portfolio, Bohemian Rhapsody tells the story of Freddie Mercury and how he rose from being a baggage boy at Heathrow, to a literal rock legend. We see how the band Queen was formed, how they got their name, how they made it big, and what made Queen… well Queen. Rami Malek delivers a powerful performance as the front man of the legendary band. For me, it started off a little shaky at first (coming from someone who is fan of Malek), but he quickly made the role his own and personified the late Mercury like no other can. Even Mercury’s own sister saw Malek in full costume and said, “There’s my Freddie.”
Not to downplay the rest of the cast. Rounding at the rest of the band is Joseph Mazzello as John Deacon, Ben Hardy as Roger Taylor, and Gwilym Lee as Brian May. All delivered powerful performances in their own right, and the chemistry between the 4 actors is undeniable. Veterans Aidan Gillen (as John Reid) and Tom Hollander (Jim Beach) deliver in their supporting roles, as does Lucy Boynton, who played Mary Austin. If some of these names do not seem familiar, get ready to learn a lot of the background of Queen in their rise, fall, and then rise again. Also, Mike Myers makes an appearance for a fun cameo as Ray Foster.
Clearly a majority of the film’s score revolves around the band’s expansive portfolio. But it wasn’t just the in your face, obvious music that was there. They did a great job with subtle melodies or bars from the band’s repertoire hanging in the background of impactful scenes throughout the film. Sometimes you’ll miss it, sometimes it’s obvious, and sometimes it might just make you cry.
The story begins with Mercury meeting Taylor and May, and ends with the ever-famous Live-Aid in 1985. While the film is essentially a love-story dedicated to Mercury, I feel it may have left out the rest of the members of the band. We see May, Taylor and Deacon, but we know little about their outside lives other than fleeting statements about their wives and kids, and what they were studying in university prior to Queen taking off. It’s a shame because Queen was not just about Mercury. The film did a really good job stating this, showing how they all contribute, all support each other, and how they are all different. But the focus is still on one man. Queen, the rock band, is an entity. Not an individual. But, I understand the decision behind the path that was chosen. Mercury, to many, was the embodiment of Queen. I am just glad the movie did put out there that he didn’t feel that way.
All of that aside, this film was fantastic. I have been a fan of Queen since I was in diapers, despite a majority of the band’s career having taken place before I was born. It was good to see this story told on screen, though slightly dramatized at points. It was an excellent telling of the story, and people may learn a lot about Freddie Mercury, like his love of cats, and who the love of his life is. Unless you’re absolutely cold-hearted, expect to get goosebumps as you progress through the band’s rise to the top, and to laugh as you how they interacted and developed their music. The movie is not without flaws, but they are so minor that looking past them is easy. Enjoy the film. Enjoy the music. Rock on.
Named for Queen’s most successful song in their portfolio, Bohemian Rhapsody tells the story of Freddie Mercury and how he rose from being a baggage boy at Heathrow, to a literal rock legend. We see how the band Queen was formed, how they got their name, how they made it big, and what made Queen… well Queen. Rami Malek delivers a powerful performance as the front man of the legendary band. For me, it started off a little shaky at first (coming from someone who is fan of Malek), but he quickly made the role his own and personified the late Mercury like no other can. Even Mercury’s own sister saw Malek in full costume and said, “There’s my Freddie.”
Not to downplay the rest of the cast. Rounding at the rest of the band is Joseph Mazzello as John Deacon, Ben Hardy as Roger Taylor, and Gwilym Lee as Brian May. All delivered powerful performances in their own right, and the chemistry between the 4 actors is undeniable. Veterans Aidan Gillen (as John Reid) and Tom Hollander (Jim Beach) deliver in their supporting roles, as does Lucy Boynton, who played Mary Austin. If some of these names do not seem familiar, get ready to learn a lot of the background of Queen in their rise, fall, and then rise again. Also, Mike Myers makes an appearance for a fun cameo as Ray Foster.
Clearly a majority of the film’s score revolves around the band’s expansive portfolio. But it wasn’t just the in your face, obvious music that was there. They did a great job with subtle melodies or bars from the band’s repertoire hanging in the background of impactful scenes throughout the film. Sometimes you’ll miss it, sometimes it’s obvious, and sometimes it might just make you cry.
The story begins with Mercury meeting Taylor and May, and ends with the ever-famous Live-Aid in 1985. While the film is essentially a love-story dedicated to Mercury, I feel it may have left out the rest of the members of the band. We see May, Taylor and Deacon, but we know little about their outside lives other than fleeting statements about their wives and kids, and what they were studying in university prior to Queen taking off. It’s a shame because Queen was not just about Mercury. The film did a really good job stating this, showing how they all contribute, all support each other, and how they are all different. But the focus is still on one man. Queen, the rock band, is an entity. Not an individual. But, I understand the decision behind the path that was chosen. Mercury, to many, was the embodiment of Queen. I am just glad the movie did put out there that he didn’t feel that way.
All of that aside, this film was fantastic. I have been a fan of Queen since I was in diapers, despite a majority of the band’s career having taken place before I was born. It was good to see this story told on screen, though slightly dramatized at points. It was an excellent telling of the story, and people may learn a lot about Freddie Mercury, like his love of cats, and who the love of his life is. Unless you’re absolutely cold-hearted, expect to get goosebumps as you progress through the band’s rise to the top, and to laugh as you how they interacted and developed their music. The movie is not without flaws, but they are so minor that looking past them is easy. Enjoy the film. Enjoy the music. Rock on.
FearlessLover (27 KP) rated Dunkirk (2017) in Movies
Jul 31, 2017
Stunning cinea
It' s 1940, 400,000 allied troops are cornered and cut off on the beaches of Dunkirk; with the enemy closing in, and no cover or defence, they await annihilation or a miracle. We experience the moment as the characters do, without unnecessary exposition or dialogue! This proves quite the departure for Nolan; there is a lot here that owes more to silent cinema than anything else, but his images often say all that needs to be said.
An opening frame invites us to join a group of soldiers. Next, the loudest onslaught of gunfire kicks the film into another gear. We are given as much pause for thought as the soldiers we follow. We run with Tommy, played here by a Fionn Whitehead, and like him, we are aware of comrades falling dead next to us, but it is all panic and no time; we will lament their loss later. Set to the ticking of a watch, we feel Tommy's heart pounding with ours, and we know the tone for this audacious movie has been set.
We see the event from different perspectives and from within different time frames. Right now, not many directors can build momentum like Nolan. The jumping to and from different characters' point of view, the corkscrewing impression of the editing, events echoed and mirrored by Hans Zimmer's Shepherd's Tones and persistent, all enveloping score, acting at times more like sound design than music; it all results in a constant rise in tension, to the point of almost being exhaustive.
This said, the editing also serves another purpose. The "Miracle of Dunkirk" is a grand story, with every soldier, every pilot, and every civilian having their own point of view. Nolan wants us to build up an overall picture of the event purely through subjective experience, so of course we spend a tiring week with the terrified boys. Of course we spend a desperate day with a fisherman as he and his familial crew sail their way into action. Lastly, given the fuel constraints of the RAF, whose decisions had to be immediate and impulsive, always a choice between defending the beach or getting home, why would we spend any more that an edge-of-your-seat, quickly-cut hour in the cockpit of a Spitfire, as they do their duty and enter into dogfights to keep the German aircraft at bay? Each timeline is contracted or dilated to give everybody equal measure and importance, whilst staying true to and very much in their situation. Yes, this means we're kept on our toes; we have moments of confusion as timelines cross over and we see the same thing happening from another point of view, but as we head into the finale, as well as the aforementioned tension and release (which is just exciting cinema), we also get to see how, despite very different perspectives, everyone was working together, and how sacrifice and struggle for duty were par for the course for all involved, whether other people knew it or not. It is important that we the audience recognise this bigger picture, and as everything clicks together in an emotive final convergence of efforts, we not only see the justification for the techniques adopted, but struggle to imagine the story told another way. That is, at least, without going down a standard route, with objective storytelling employed.
A proper review not being complete without comment on the elephant in the room, it must be said that Harry Styles does not stand out like the proverbial sore thumb at all. Frankly, he carries his scenes with aplomb, and surely, following the Heath Ledger lesson, and now this, it is time we learned that, maybe, Christopher Nolan just knows what he's doing better that we do? As to the other big names, there are moments from that remain with me so long after having seen it: Kenneth Brannagh and Mark Rylance can say so much with so little, their faces and gestures doing the heavy lifting to deliver a lot of the human emotion, and it would appear Tom Hardy has Oscar-worthy eyes! You need see nothing more through the course of his drama to have a complete sense of the type of man his Farrier is. We talk about great acting and achieving realism through imagination, but with the knowledge that Nolan actually took everyone to Dunkirk, sank real ships, sailed real ships, flew real Spitfires overhead, employed real explosions on the beach, and even rejected green screen and CGI in favour of cardboard cut-outs, it seems imagination wasn't too necessary for these already consummate actors.
Nolan's principle fan base will be well prepared for what they get; but with his insistence on holding back from the audience any perspective not afforded his characters, ala 'Memento', some knowledge of the "Miracle Of Dunkirk" might put the more casual viewer in better stead. Regardless of which camp you fall into, or indeed of whether or not the movie does it for you, certain things are for sure: With no melodrama or cheese, and no superfluous fluff or emotional subterfuge, 'Dunkirk' is a purely experiential movie, a technical marvel of a war film unlike any other I can name. It also stands as a beacon in Nolan's career, characterised by his desire to cultivate an audience willing to keep up with him. And perhaps most importantly, this is a key moment in world history that is often overlooked; a disaster averted which, had it not been, would have seen the history books written very differently. That this event has been marshalled by a confident and sincere director, who has surely by now cemented his name alongside those of his own heroes, is reason enough to see 'Dunkirk'.
An opening frame invites us to join a group of soldiers. Next, the loudest onslaught of gunfire kicks the film into another gear. We are given as much pause for thought as the soldiers we follow. We run with Tommy, played here by a Fionn Whitehead, and like him, we are aware of comrades falling dead next to us, but it is all panic and no time; we will lament their loss later. Set to the ticking of a watch, we feel Tommy's heart pounding with ours, and we know the tone for this audacious movie has been set.
We see the event from different perspectives and from within different time frames. Right now, not many directors can build momentum like Nolan. The jumping to and from different characters' point of view, the corkscrewing impression of the editing, events echoed and mirrored by Hans Zimmer's Shepherd's Tones and persistent, all enveloping score, acting at times more like sound design than music; it all results in a constant rise in tension, to the point of almost being exhaustive.
This said, the editing also serves another purpose. The "Miracle of Dunkirk" is a grand story, with every soldier, every pilot, and every civilian having their own point of view. Nolan wants us to build up an overall picture of the event purely through subjective experience, so of course we spend a tiring week with the terrified boys. Of course we spend a desperate day with a fisherman as he and his familial crew sail their way into action. Lastly, given the fuel constraints of the RAF, whose decisions had to be immediate and impulsive, always a choice between defending the beach or getting home, why would we spend any more that an edge-of-your-seat, quickly-cut hour in the cockpit of a Spitfire, as they do their duty and enter into dogfights to keep the German aircraft at bay? Each timeline is contracted or dilated to give everybody equal measure and importance, whilst staying true to and very much in their situation. Yes, this means we're kept on our toes; we have moments of confusion as timelines cross over and we see the same thing happening from another point of view, but as we head into the finale, as well as the aforementioned tension and release (which is just exciting cinema), we also get to see how, despite very different perspectives, everyone was working together, and how sacrifice and struggle for duty were par for the course for all involved, whether other people knew it or not. It is important that we the audience recognise this bigger picture, and as everything clicks together in an emotive final convergence of efforts, we not only see the justification for the techniques adopted, but struggle to imagine the story told another way. That is, at least, without going down a standard route, with objective storytelling employed.
A proper review not being complete without comment on the elephant in the room, it must be said that Harry Styles does not stand out like the proverbial sore thumb at all. Frankly, he carries his scenes with aplomb, and surely, following the Heath Ledger lesson, and now this, it is time we learned that, maybe, Christopher Nolan just knows what he's doing better that we do? As to the other big names, there are moments from that remain with me so long after having seen it: Kenneth Brannagh and Mark Rylance can say so much with so little, their faces and gestures doing the heavy lifting to deliver a lot of the human emotion, and it would appear Tom Hardy has Oscar-worthy eyes! You need see nothing more through the course of his drama to have a complete sense of the type of man his Farrier is. We talk about great acting and achieving realism through imagination, but with the knowledge that Nolan actually took everyone to Dunkirk, sank real ships, sailed real ships, flew real Spitfires overhead, employed real explosions on the beach, and even rejected green screen and CGI in favour of cardboard cut-outs, it seems imagination wasn't too necessary for these already consummate actors.
Nolan's principle fan base will be well prepared for what they get; but with his insistence on holding back from the audience any perspective not afforded his characters, ala 'Memento', some knowledge of the "Miracle Of Dunkirk" might put the more casual viewer in better stead. Regardless of which camp you fall into, or indeed of whether or not the movie does it for you, certain things are for sure: With no melodrama or cheese, and no superfluous fluff or emotional subterfuge, 'Dunkirk' is a purely experiential movie, a technical marvel of a war film unlike any other I can name. It also stands as a beacon in Nolan's career, characterised by his desire to cultivate an audience willing to keep up with him. And perhaps most importantly, this is a key moment in world history that is often overlooked; a disaster averted which, had it not been, would have seen the history books written very differently. That this event has been marshalled by a confident and sincere director, who has surely by now cemented his name alongside those of his own heroes, is reason enough to see 'Dunkirk'.
Kirk Bage (1775 KP) rated Bohemian Rhapsody (2018) in Movies
Mar 3, 2020
In the search for a way to watch the 92nd Academy Awards live from Hollywood tonight I was led to a subscription for Now TV, which is basically the online platform for Sky Cinema. And there I found all the missing films I had yet to see from last year that aren’t available “free” on Amazon Prime or Netflix. I should really have worked it out before now that a free trial might be available, having assumed that a Sky subscription was beyond my means at the moment. Imagine my excitement to not only secure the Oscars but a 7 day pass to catch up on some big titles. It’s the small things in life…
Having made a 20 strong watch list, I wasted no time in heading straight for the Queen biopic, Bohemian Rhapsody, winner of 4 awards last February, including one for Rami Malek as Freddy Mercury that I applauded very loudly at the time, without having seen it, due to my love for him as Elliot Alderson in my favourite TV show of the last 5 years, the incredible and mindbendingly brilliant Mr. Robot.
My connection to Queen as a fan isn’t an especially strong one; I have always thought they were fine, and enjoyed their biggest hits as much as anyone. But it is the story, charisma and undeniable singing talent of Mercury that attracts me. From the opening scenes it is apparent that what we are going to get here is a fairly straightforward, by the numbers recounting of events, punctuated by some serious tunes and some glorious 70s fashions. Having read that this was the main criticism of it going in, it really didn’t bother me at all to find it wasn’t going to make bolder artistic and dramatic choices. It was very much about sitting back and enjoying the show!
In fact, there is something comforting and unchallenging about its format that I liked. The pattern of abc that is a) some background to Freddy’s life, b) a build up to how they came across their big hits, and c) a rendition of that hit, didn’t strike me as cheap, but rather unpretentious and to the point. The whole thing clipped along nicely with very little dead air; Malek is a joy to watch in every moment; the clothes and scenery of the 70s and later 80s is a treat; and the music stands for itself, with you often forgetting how good the tunes are until you hear them in this context.
Of course, at times it is almost laughable how well known facts and details are crow-barred into the narrative, with some of the darker elements glossed over, as if this were almost a Disney retelling. But, again, it doesn’t matter, because as an entertainment it is all so enjoyable. Not to say the dark side of the story isn’t touched upon, because it is to an extent, just that it is clear this is a celebration of a life and a talent, not an exposé. Which is fine. As with the superior Walk The Line, and the recently inferior Rocketman, we know a seedier story of Johnny Cash and Elton John exists, but we accept that revelling in the genius of the music is more fun than trawling through the trash.
Malek is a wonder to behold! It has to be said. Once you (and he) get used to the false teeth and bite down on the energy and drive of Mercury, it is impossible to take your eyes off him! He handles the dramatic moments and nuance of this fragile mind with ease, but it is the performances that stand out: his movement is so fluid and accurate that you forget at times you aren’t watching archive footage, which is some trick! Gwilym Lee and Ben Hardy as Brian May and Roger Taylor are also to be praised for this, despite having less to do. With Joseph Mazzello as John Deacon largely merging into the background inoffensively, much as his real life counterpart did.
There is some solid support too. Lucy Boynton is completely charming if largely uninteresting; Tom Hollander quietly steals several scenes as the lawyer who doesn’t just work for them but idolises them as much as any fan; and an unrecognisable Mike Myers is a lot of fun as the manager who missed out on the vision and lives to regret it. Honourable mention also to Allen Leech as the villain of the piece, who walks the tightrope of cartoonish nastiness with some skill, serving the story well in the latter half.
My favourites parts were, unsurprisingly, the genesis and evolution of the big tunes, which was invariably very satisfying. Love of My Life, We Will Rock You, We are the Champions and of course Bohemian Rhapsody are treated like holy texts, with fascinating detail and a reverence that never seems over-egged. Building to the climax of Live Aid; a twenty minute segment at the end of the film that brings a genuine lump to the throat. The magnitude of the event and its natural energy are so well realised, every minor foible of the film up to that point are forgiven, and you walk away from it feeling elated and glad that this moment exists in music history.
Artistically, it isn’t a movie to get too caried away about, but the art of creating a spectacle that pleases on a basic, uncomplicated level is. Director Bryan Singer knows a trick or two, and the trick here is what is left out. There just isn’t a moment to be bored, and I find myself wishing that films of this kind took a leaf out of that book more often. In conclusion, I think this movie will endure the test of time, which is a lot more than most biopic genre films can say. But who wants to live forever anyway?
Having made a 20 strong watch list, I wasted no time in heading straight for the Queen biopic, Bohemian Rhapsody, winner of 4 awards last February, including one for Rami Malek as Freddy Mercury that I applauded very loudly at the time, without having seen it, due to my love for him as Elliot Alderson in my favourite TV show of the last 5 years, the incredible and mindbendingly brilliant Mr. Robot.
My connection to Queen as a fan isn’t an especially strong one; I have always thought they were fine, and enjoyed their biggest hits as much as anyone. But it is the story, charisma and undeniable singing talent of Mercury that attracts me. From the opening scenes it is apparent that what we are going to get here is a fairly straightforward, by the numbers recounting of events, punctuated by some serious tunes and some glorious 70s fashions. Having read that this was the main criticism of it going in, it really didn’t bother me at all to find it wasn’t going to make bolder artistic and dramatic choices. It was very much about sitting back and enjoying the show!
In fact, there is something comforting and unchallenging about its format that I liked. The pattern of abc that is a) some background to Freddy’s life, b) a build up to how they came across their big hits, and c) a rendition of that hit, didn’t strike me as cheap, but rather unpretentious and to the point. The whole thing clipped along nicely with very little dead air; Malek is a joy to watch in every moment; the clothes and scenery of the 70s and later 80s is a treat; and the music stands for itself, with you often forgetting how good the tunes are until you hear them in this context.
Of course, at times it is almost laughable how well known facts and details are crow-barred into the narrative, with some of the darker elements glossed over, as if this were almost a Disney retelling. But, again, it doesn’t matter, because as an entertainment it is all so enjoyable. Not to say the dark side of the story isn’t touched upon, because it is to an extent, just that it is clear this is a celebration of a life and a talent, not an exposé. Which is fine. As with the superior Walk The Line, and the recently inferior Rocketman, we know a seedier story of Johnny Cash and Elton John exists, but we accept that revelling in the genius of the music is more fun than trawling through the trash.
Malek is a wonder to behold! It has to be said. Once you (and he) get used to the false teeth and bite down on the energy and drive of Mercury, it is impossible to take your eyes off him! He handles the dramatic moments and nuance of this fragile mind with ease, but it is the performances that stand out: his movement is so fluid and accurate that you forget at times you aren’t watching archive footage, which is some trick! Gwilym Lee and Ben Hardy as Brian May and Roger Taylor are also to be praised for this, despite having less to do. With Joseph Mazzello as John Deacon largely merging into the background inoffensively, much as his real life counterpart did.
There is some solid support too. Lucy Boynton is completely charming if largely uninteresting; Tom Hollander quietly steals several scenes as the lawyer who doesn’t just work for them but idolises them as much as any fan; and an unrecognisable Mike Myers is a lot of fun as the manager who missed out on the vision and lives to regret it. Honourable mention also to Allen Leech as the villain of the piece, who walks the tightrope of cartoonish nastiness with some skill, serving the story well in the latter half.
My favourites parts were, unsurprisingly, the genesis and evolution of the big tunes, which was invariably very satisfying. Love of My Life, We Will Rock You, We are the Champions and of course Bohemian Rhapsody are treated like holy texts, with fascinating detail and a reverence that never seems over-egged. Building to the climax of Live Aid; a twenty minute segment at the end of the film that brings a genuine lump to the throat. The magnitude of the event and its natural energy are so well realised, every minor foible of the film up to that point are forgiven, and you walk away from it feeling elated and glad that this moment exists in music history.
Artistically, it isn’t a movie to get too caried away about, but the art of creating a spectacle that pleases on a basic, uncomplicated level is. Director Bryan Singer knows a trick or two, and the trick here is what is left out. There just isn’t a moment to be bored, and I find myself wishing that films of this kind took a leaf out of that book more often. In conclusion, I think this movie will endure the test of time, which is a lot more than most biopic genre films can say. But who wants to live forever anyway?
RəX Regent (349 KP) rated The Dark Knight Rises (2012) in Movies
Feb 19, 2019
Contains spoilers, click to show
After four years, since The Dark Knight ended, leaving us wanting more and seven years since Christopher Nolan reinvented the comic book adaptation with Batman Begins, The final chapter of The Dark Knight Trilogy has arrived.
With this much hype, would it possible live up to potentially bloated expectations? The first reviews hit last monday, with 4 to 5 stars being the consensus. Well, it did! The Dark Knight returns one last time, after eight years have passed since the events of The Dark Knight and Batman had retreated into the rebuilt Wayne Manor as Commissioner Gordon (Gary Oldman), maintaining the lie that Harvey Dent was Gotham’s The White Knight, and not the maniacal Two-Face, had managed to clean up Gotham City.
Batman was no longer needed but in the meantime, Bane has arrived in the city with grand plans for its destruction. I won’t go much further into the plot that this, though I will probably write a more spoiler heavy review for the Blu-ray later in the year. But for now, I will try to maintain the film’s integrity.
When we first meet Bruce Wayne after almost a decade of seclusion, he is a broken man, both physically and mentally following the murder of his childhood sweetheart, Rachel Dawes in the previous film and the toll of nightly combat. So the first port of call is to bring Batman back to the streets of Gotham. The sense of excitement is palpable and very much a part of what makes Nolan’s films tick.
He draws his audience into the narrative as if we are part of the events and the universe as it unfolds, leaving us not just wanting Batman to return for the sake of the action but for Gotham’s sake as well. Bane, played so excellently by Tom Hardy, was a little difficult to understand from behind his mask, but still conveyed an enormous amount of presence and power, as he lays siege to the city but not as Terrorist per say, but as a freedom fighter or revolutionary, with many visual references to the French Revolution to keep us going.
Anne Hathaway’s Catwoman, though not named as anyone other than Selina Kyle, was a credit to her character as well as the actress. Dark, sultry, seductive and agile, her feline credibly was intact, whilst still being a very human character. Her duplicity was bread from desperation rather than evil and her motives convincingly drive her in both good and more dubious endeavours.
*** MAJOR SPOILER***
The less said about Talia Al Ghul the better, but the for those aware of her role, it was well-played, though her final scene was the hammiest in the film, possibly the entire trilogy.
Then there’s the supporting cast, such as Mathew Modene, who does a great job as Dept. Commissioner Foley and Cillian Murphy’s back again, as the subtly unrecognisable Scarecrow, who besides some frayed shoulder’s on his jacket, could have been anyone,and that’s the beauty of Nolan’s Batman universe. It’s fluid and you can’t count on anything on anyone for too long.
But this franchise would be nothing without Hans Zimmer percussive score, pounding as much as it was gentle, it works well among with Nolan’s direction to craft the near perfect conclusion to the Trilogy. Both riff on earlier films and supe it up accordingly whilst maintaining the film’s integrity.
In the end, my expectations were met and exceeded. Nolan has crowned his trilogy with a film which is of the same calabar as the two which preceded it, filling in many of the blanks, choosing the right characters to take on and doing so a variety of ways, touching this time on the flamboyant Bain, though scrapping the “Venom” plot from the comics, creating an intriguing Catwoman and building another major character in the form of R. John Blake (Joseph Gordon-Lovett).
The ending of the film is just perfect, not only for this but for the entire Trilogy. With nods to Inception though I believe that it is just a nod and not as similar as some would protest, but this is epic in the way that The Dark Knight never tried to be and Batman Begins didn’t need to be. The threat is apocalyptic, in keeping with the genre, but believable in keeping with Nolan.
The same can be said for the action, though I must admit, the sentimentalist in me wanted to see the Batmoble/Tumber back, though it was there in triplicate, as Bane steels three prototype Tumbers from Wayne Enterprises, for his private army, but the Bat (Batwing) was stunning, and the Batpod made a reappearance. The Final showdown will leave you breathless, the perfect blend of direction, Zimmer’s score and some of the most intense and meaningful action you’ll see on the big screen.
The only real faults with The Dark Knight Rises stem from its scale and change in direction. It’s more about Batman’s evolution from crime fighter to savour. Less intense on a personal level, but much grander in its ideals and horror as Gotham is destroyed on scale never seen in a film of this type. But it’s not as far-fetched as one may think, as it grounds itself with historical references, such as the French Revolution, which was hardly far-fetched, though it was hard-hitting and is well translated here.
Bruce Wayne completes his journey from the boy who witnessed his parents murder, to a young man who could not grow beyond it, to a man who lost himself in a journey to understand the criminal mind. Finally returning as Batman, who defied his mentor to protect his beloved city, to a master detective. But here, he returns to his roots.
The billionaire who never cared about his wealth as much as he cared for the people of Gotham, he ends up exactly where he needed to be. Decide for yourself, whether it’s a happy ending, sad or satisfying, but either way, it was not only the best way to advance the saga, but the best way to end the series as a whole. Thanks to Nolan and his crew, we now have the most definitively brilliant Batman series EVER committed to celluloid, (or digital), and no matter what is to follow, whether it is to be the Justice League mash-up or another reboot, I suspect that it will be a long, long time before anyone can beat these.
With this much hype, would it possible live up to potentially bloated expectations? The first reviews hit last monday, with 4 to 5 stars being the consensus. Well, it did! The Dark Knight returns one last time, after eight years have passed since the events of The Dark Knight and Batman had retreated into the rebuilt Wayne Manor as Commissioner Gordon (Gary Oldman), maintaining the lie that Harvey Dent was Gotham’s The White Knight, and not the maniacal Two-Face, had managed to clean up Gotham City.
Batman was no longer needed but in the meantime, Bane has arrived in the city with grand plans for its destruction. I won’t go much further into the plot that this, though I will probably write a more spoiler heavy review for the Blu-ray later in the year. But for now, I will try to maintain the film’s integrity.
When we first meet Bruce Wayne after almost a decade of seclusion, he is a broken man, both physically and mentally following the murder of his childhood sweetheart, Rachel Dawes in the previous film and the toll of nightly combat. So the first port of call is to bring Batman back to the streets of Gotham. The sense of excitement is palpable and very much a part of what makes Nolan’s films tick.
He draws his audience into the narrative as if we are part of the events and the universe as it unfolds, leaving us not just wanting Batman to return for the sake of the action but for Gotham’s sake as well. Bane, played so excellently by Tom Hardy, was a little difficult to understand from behind his mask, but still conveyed an enormous amount of presence and power, as he lays siege to the city but not as Terrorist per say, but as a freedom fighter or revolutionary, with many visual references to the French Revolution to keep us going.
Anne Hathaway’s Catwoman, though not named as anyone other than Selina Kyle, was a credit to her character as well as the actress. Dark, sultry, seductive and agile, her feline credibly was intact, whilst still being a very human character. Her duplicity was bread from desperation rather than evil and her motives convincingly drive her in both good and more dubious endeavours.
*** MAJOR SPOILER***
The less said about Talia Al Ghul the better, but the for those aware of her role, it was well-played, though her final scene was the hammiest in the film, possibly the entire trilogy.
Then there’s the supporting cast, such as Mathew Modene, who does a great job as Dept. Commissioner Foley and Cillian Murphy’s back again, as the subtly unrecognisable Scarecrow, who besides some frayed shoulder’s on his jacket, could have been anyone,and that’s the beauty of Nolan’s Batman universe. It’s fluid and you can’t count on anything on anyone for too long.
But this franchise would be nothing without Hans Zimmer percussive score, pounding as much as it was gentle, it works well among with Nolan’s direction to craft the near perfect conclusion to the Trilogy. Both riff on earlier films and supe it up accordingly whilst maintaining the film’s integrity.
In the end, my expectations were met and exceeded. Nolan has crowned his trilogy with a film which is of the same calabar as the two which preceded it, filling in many of the blanks, choosing the right characters to take on and doing so a variety of ways, touching this time on the flamboyant Bain, though scrapping the “Venom” plot from the comics, creating an intriguing Catwoman and building another major character in the form of R. John Blake (Joseph Gordon-Lovett).
The ending of the film is just perfect, not only for this but for the entire Trilogy. With nods to Inception though I believe that it is just a nod and not as similar as some would protest, but this is epic in the way that The Dark Knight never tried to be and Batman Begins didn’t need to be. The threat is apocalyptic, in keeping with the genre, but believable in keeping with Nolan.
The same can be said for the action, though I must admit, the sentimentalist in me wanted to see the Batmoble/Tumber back, though it was there in triplicate, as Bane steels three prototype Tumbers from Wayne Enterprises, for his private army, but the Bat (Batwing) was stunning, and the Batpod made a reappearance. The Final showdown will leave you breathless, the perfect blend of direction, Zimmer’s score and some of the most intense and meaningful action you’ll see on the big screen.
The only real faults with The Dark Knight Rises stem from its scale and change in direction. It’s more about Batman’s evolution from crime fighter to savour. Less intense on a personal level, but much grander in its ideals and horror as Gotham is destroyed on scale never seen in a film of this type. But it’s not as far-fetched as one may think, as it grounds itself with historical references, such as the French Revolution, which was hardly far-fetched, though it was hard-hitting and is well translated here.
Bruce Wayne completes his journey from the boy who witnessed his parents murder, to a young man who could not grow beyond it, to a man who lost himself in a journey to understand the criminal mind. Finally returning as Batman, who defied his mentor to protect his beloved city, to a master detective. But here, he returns to his roots.
The billionaire who never cared about his wealth as much as he cared for the people of Gotham, he ends up exactly where he needed to be. Decide for yourself, whether it’s a happy ending, sad or satisfying, but either way, it was not only the best way to advance the saga, but the best way to end the series as a whole. Thanks to Nolan and his crew, we now have the most definitively brilliant Batman series EVER committed to celluloid, (or digital), and no matter what is to follow, whether it is to be the Justice League mash-up or another reboot, I suspect that it will be a long, long time before anyone can beat these.