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Kevin Phillipson (9961 KP) rated Doctor Who - Season 18 in TV
Mar 19, 2019 (Updated Mar 20, 2019)
Tom baker (6 more)
Lala ward
Keeper of traken
Logopolis
Blu ray conversion
The master
New theme tune
Getting rid of k9 (2 more)
Meglos
Adric
Its the end but the moment has been prepared for
Contains spoilers, click to show
Not the best 4 doctor sesaon but not the worst by any means i remember first seeing this when I was at the time wasn't impressed by the new look new titles new theme tune new costume for the doctor. At the time I didn't realise this would be to. Bakers last season.
And it shows in his performance thru out the 7 story's I didn't realise at the time of filming he was really ill and it shows as he gives a moodier performance thru out in my opinion some of his best performances. Some of the storys werent great but both keeper of traken and logopolis stand out for me especially bringing back the master back for the conclusion.
Overall I rate the season 7 but as this also rating the blu ray as well so I give a it 8 it has never looked so good even the bad story's have been too look good as a bonus u get k9 and company as well highly recommend it
And it shows in his performance thru out the 7 story's I didn't realise at the time of filming he was really ill and it shows as he gives a moodier performance thru out in my opinion some of his best performances. Some of the storys werent great but both keeper of traken and logopolis stand out for me especially bringing back the master back for the conclusion.
Overall I rate the season 7 but as this also rating the blu ray as well so I give a it 8 it has never looked so good even the bad story's have been too look good as a bonus u get k9 and company as well highly recommend it
LoganCrews (2861 KP) rated Road Trip (2000) in Movies
Sep 21, 2020
Deplorable, only a few meager steps above the likes of shit hall-of-famer 𝘋𝘦𝘶𝘤𝘦 𝘉𝘪𝘨𝘢𝘭𝘰𝘸: 𝘔𝘢𝘭𝘦 𝘎𝘪𝘨𝘰𝘭𝘰. Bargain bin 𝘈𝘮𝘦𝘳𝘪𝘤𝘢𝘯 𝘗𝘪𝘦 meets injudicious 𝘍𝘦𝘳𝘳𝘪𝘴 𝘉𝘶𝘦𝘭𝘭𝘦𝘳'𝘴 𝘋𝘢𝘺 𝘖𝘧𝘧 mixed with elements that we'd later see Phillips use to his benefit in better films like 𝘛𝘩𝘦 𝘏𝘢𝘯𝘨𝘰𝘷𝘦𝘳 and 𝘋𝘶𝘦 𝘋𝘢𝘵𝘦 - but are 0% amusing here. I challenge you to find a more stagnant road trip movie than this, why even cast Tom Green at the peak of his fame (who, along with DJ Qualls, are the only perfect performances) if you're only going to have him do a couple outrageous things? Like yeah don't overdo it but come on you can do better than this. I mean hell even similarly awful 30 𝘔𝘪𝘯𝘶𝘵𝘦𝘴 𝘰𝘳 𝘓𝘦𝘴𝘴 did at least fifty times more with Fred Ward. Also worth noting how much this films hates women. The entire plot of this movie hinges on the Meyer (who is worse than terrible in this) character rightfully being in danger of his girlfriend finding out he undisguisedly cheated on her but we're supposed to not want that to happen because him and his noxious jackass friends are funny... but they aren't? Some of the ugliest aesthetics and soundtrack offerings of the crime of good taste that was the late 90s/early 2000s style. I'm usually a Todd defender but this is just wretched. 𝘙𝘰𝘢𝘥 𝘛𝘳𝘪𝘱𝘦.
Gareth von Kallenbach (971 KP) rated Seventh Son (2015) in Movies
Aug 6, 2019
After a two-year delay, Seventh Son has finally reached the big screen, and it will leave you conflicted.
Seventh Son is brought to us by director Sergey Bodrov. Originally set for a February 2013 release, the film had complicated distribution arrangements between Legendary and Warner Brothers, which kept causing delays.
Jeff Bridges plays one of the title characters: Master John Gregory. He is the last of an order of peacekeeper knights, which once used to be a thousand strong. All of these knights are seventh sons of seventh sons, and are self-tasked with keeping the evil creatures of the world at bay.
The movie starts off with a young Gregory completing a prison cell for an unknown woman. Years later, the prisoner, a draconic beast, breaks out and attacks a nearby town, specifically targeting the aged Knight and his apprentice (Kit Harington — Jon Snow from Game of Thrones). This recently released evil is Mother Malkin (Julianne Moore), the queen of witches.
During the battle, Harington’s brief existence in this film is brought to an end, causing Gregory to seek out another apprentice. This search leads him to young Thomas Ward (Ben Barnes). After Ward goes through some sad goodbyes with his family, he and Gregory set out to take down the Witch Queen before the blood moon sets.
His training would normally take 10 years, but they only have a week.
Put simply, this movie was very fragmented. It isn’t a good movie, but it isn’t a bad one either. It has reasonable special effects and decent fight scenes.
There is plenty of star power: Jeff Bridges, Julianne Moore, Kit Harington, Djimon Hounsou (one of my favorites), and Jason Scott Lee.
Jeff Bridges missed the mark on his character. It’s one thing to be disgruntled and war-torn with a curious sense of humor, but it’s something quite different to be outright silly.
There were no explanations. How did the order come about? Why seventh sons of seventh sons? How did Gregory KNOW there was a seventh son at that house? How did the war start? Why is Gregory the last? Why wasn’t there more about Gregory’s relationship with Malkin? Why did the skeleton in the armor attack Tom? Why do the swords hum? Where did the stone come from? Why was it powerful? Why anything, really? The story has no depth, failing to explain the “why” of any of its lore. There were only statements of fact, which confuses viewers and prevents them from becoming emotionally anchored to the story.
I simply didn’t care about the characters. The film was disorganized and rushed. Perhaps it would have been better served as two films, or a longer film, or even a mini series.
Seventh Son had the potential to be so much more. A combination of poor writing and bad direction made the movie lackluster to me and all three of my companions.
The actors delivered many campy one-liners, and the chuckles they drew from the crowd were quite unintentional.
If you are a fan of high fantasy, it’s probably worth seeing, but wait for it to arrive on Netflix and use it as background entertainment
Seventh Son is brought to us by director Sergey Bodrov. Originally set for a February 2013 release, the film had complicated distribution arrangements between Legendary and Warner Brothers, which kept causing delays.
Jeff Bridges plays one of the title characters: Master John Gregory. He is the last of an order of peacekeeper knights, which once used to be a thousand strong. All of these knights are seventh sons of seventh sons, and are self-tasked with keeping the evil creatures of the world at bay.
The movie starts off with a young Gregory completing a prison cell for an unknown woman. Years later, the prisoner, a draconic beast, breaks out and attacks a nearby town, specifically targeting the aged Knight and his apprentice (Kit Harington — Jon Snow from Game of Thrones). This recently released evil is Mother Malkin (Julianne Moore), the queen of witches.
During the battle, Harington’s brief existence in this film is brought to an end, causing Gregory to seek out another apprentice. This search leads him to young Thomas Ward (Ben Barnes). After Ward goes through some sad goodbyes with his family, he and Gregory set out to take down the Witch Queen before the blood moon sets.
His training would normally take 10 years, but they only have a week.
Put simply, this movie was very fragmented. It isn’t a good movie, but it isn’t a bad one either. It has reasonable special effects and decent fight scenes.
There is plenty of star power: Jeff Bridges, Julianne Moore, Kit Harington, Djimon Hounsou (one of my favorites), and Jason Scott Lee.
Jeff Bridges missed the mark on his character. It’s one thing to be disgruntled and war-torn with a curious sense of humor, but it’s something quite different to be outright silly.
There were no explanations. How did the order come about? Why seventh sons of seventh sons? How did Gregory KNOW there was a seventh son at that house? How did the war start? Why is Gregory the last? Why wasn’t there more about Gregory’s relationship with Malkin? Why did the skeleton in the armor attack Tom? Why do the swords hum? Where did the stone come from? Why was it powerful? Why anything, really? The story has no depth, failing to explain the “why” of any of its lore. There were only statements of fact, which confuses viewers and prevents them from becoming emotionally anchored to the story.
I simply didn’t care about the characters. The film was disorganized and rushed. Perhaps it would have been better served as two films, or a longer film, or even a mini series.
Seventh Son had the potential to be so much more. A combination of poor writing and bad direction made the movie lackluster to me and all three of my companions.
The actors delivered many campy one-liners, and the chuckles they drew from the crowd were quite unintentional.
If you are a fan of high fantasy, it’s probably worth seeing, but wait for it to arrive on Netflix and use it as background entertainment
Bob Mann (459 KP) rated Enola Holmes (2020) in Movies
Oct 4, 2020
Millie Bobby Brown - a confident raw talent (1 more)
Henry Cavill as a new take on Sherlock
The unsinkable Millie Bobby Brown
Sherlock Holmes never had a sister. But if he did, what adventures would Enola Holmes get up to? That’s the premise behind this Netflix feature. starring rising star Millie Bobby Brown.
Enola Holmes (Millie Bobby Brown) thinks she’s been named as such because it spells “alone” backwards. (But then, she admits, that it doesn’t seem to follow for either kcolrehs or tforcym!)
Enola has been brought up by her dearest mother Eudoria (Helena Bonham Carter) to be a strong and confident woman, free of the normal 19th century rituals of ladylike husband-seeking niceties: for her, it’s all mental gymnastics and martial arts. But when on her 16th birthday her mother vanishes, Enola sets out on a quest to find her. But Eudoria is a Holmes, and knows the value of clues and how to cover her tracks.
Of greater concern to Enola is her brother and ward Mycroft (Sam Claflin), who is intent on packing her off to the Victorian finishing school of Miss Harrison (“Killing Eve’s” Fiona Shaw). But while trying to escape from her brothers – not a trivial matter when one is the famous detective Sherlock (Henry Cavill) – Enola encounters a Marquess on the run (Louis Partridge) and adventure, intrigue and murder are on the cards.
Filming in this “Fleabag” style – where the lead is constantly breaking the fourth wall – requires a confidence in delivery that many young actors would struggle with. But not Millie Bobby Brown. Her asides and camera glances – while not quite as skillful as the astonishingly accomplished Phoebe Waller-Bridge – are nonetheless impressive and constantly entertaining. An underwater wink at the camera was particularly enjoyable.
So… actress – tick!
But perhaps more impressive to me was that the 16 year old – most famous for her role in “Stranger Things”, which I still haven’t watched – was also a PRODUCER of this movie. Which makes me think she is a serious person to watch in the movie business (if there ever is a movie business left after 2020). I read that she is the youngest person ever to appear on the annual list of the “world’s 100 most influential people” by Time magazine: so others agree!
The supporting case are a broad array of British acting talent, with Henry Cavill being particularly appealing as Sherlock, Burn Gorman at his slimy evil best as a murderous henchman, and Sam Claflin being as anonymous as I always find him. (That’s a compliment by the way: whereas I see some actors and think “oh, there’s <<Tom Hanks>> again”, I never recognize Claflin until the credits role… he is a chameleon of the acting world).
But acting the socks off everyone else for me is Frances de la Tour as the Marquess’s grandmother. A deliciously twinkling and charming performance from an old dame of the screen.
The similarities with “Fleabag” are not coincidental, since the director is Harry Bradbeer; director of all of the episodes except the original pilot. But it’s unfortunate in some ways that the style has been interpolated into the Holmes story. Since, of course, this approach was previously done by Guy Ritchie in the two very entertaining movies featuring Robert Downey Jnr and Jude Law. And for me, that’s a shame. Since although the styles are markedly different – here we have a lot of Paddington-style cardboard animations – the “feel” of the films is the same. As such, it doesn’t feel as novel as it should do. Why couldn’t she have been someone else’s sister? Houdini perhaps? Or Oscar Wilde?
As two hours of entertaining escapism, Enola Holmes worked well for me. Brown is eminently watchable, and given the Netflix response to the movie, a sequel would be – I expect – on the cards.
(For the full graphical review, please visit the One Mann's Movies review here - https://bob-the-movie-man.com/2020/10/04/the-unsinkable-millie-bobby-brown/. Thanks.)
Enola Holmes (Millie Bobby Brown) thinks she’s been named as such because it spells “alone” backwards. (But then, she admits, that it doesn’t seem to follow for either kcolrehs or tforcym!)
Enola has been brought up by her dearest mother Eudoria (Helena Bonham Carter) to be a strong and confident woman, free of the normal 19th century rituals of ladylike husband-seeking niceties: for her, it’s all mental gymnastics and martial arts. But when on her 16th birthday her mother vanishes, Enola sets out on a quest to find her. But Eudoria is a Holmes, and knows the value of clues and how to cover her tracks.
Of greater concern to Enola is her brother and ward Mycroft (Sam Claflin), who is intent on packing her off to the Victorian finishing school of Miss Harrison (“Killing Eve’s” Fiona Shaw). But while trying to escape from her brothers – not a trivial matter when one is the famous detective Sherlock (Henry Cavill) – Enola encounters a Marquess on the run (Louis Partridge) and adventure, intrigue and murder are on the cards.
Filming in this “Fleabag” style – where the lead is constantly breaking the fourth wall – requires a confidence in delivery that many young actors would struggle with. But not Millie Bobby Brown. Her asides and camera glances – while not quite as skillful as the astonishingly accomplished Phoebe Waller-Bridge – are nonetheless impressive and constantly entertaining. An underwater wink at the camera was particularly enjoyable.
So… actress – tick!
But perhaps more impressive to me was that the 16 year old – most famous for her role in “Stranger Things”, which I still haven’t watched – was also a PRODUCER of this movie. Which makes me think she is a serious person to watch in the movie business (if there ever is a movie business left after 2020). I read that she is the youngest person ever to appear on the annual list of the “world’s 100 most influential people” by Time magazine: so others agree!
The supporting case are a broad array of British acting talent, with Henry Cavill being particularly appealing as Sherlock, Burn Gorman at his slimy evil best as a murderous henchman, and Sam Claflin being as anonymous as I always find him. (That’s a compliment by the way: whereas I see some actors and think “oh, there’s <<Tom Hanks>> again”, I never recognize Claflin until the credits role… he is a chameleon of the acting world).
But acting the socks off everyone else for me is Frances de la Tour as the Marquess’s grandmother. A deliciously twinkling and charming performance from an old dame of the screen.
The similarities with “Fleabag” are not coincidental, since the director is Harry Bradbeer; director of all of the episodes except the original pilot. But it’s unfortunate in some ways that the style has been interpolated into the Holmes story. Since, of course, this approach was previously done by Guy Ritchie in the two very entertaining movies featuring Robert Downey Jnr and Jude Law. And for me, that’s a shame. Since although the styles are markedly different – here we have a lot of Paddington-style cardboard animations – the “feel” of the films is the same. As such, it doesn’t feel as novel as it should do. Why couldn’t she have been someone else’s sister? Houdini perhaps? Or Oscar Wilde?
As two hours of entertaining escapism, Enola Holmes worked well for me. Brown is eminently watchable, and given the Netflix response to the movie, a sequel would be – I expect – on the cards.
(For the full graphical review, please visit the One Mann's Movies review here - https://bob-the-movie-man.com/2020/10/04/the-unsinkable-millie-bobby-brown/. Thanks.)
