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Lucy Buglass (45 KP) rated Ghost Stories (2018) in Movies
Jun 20, 2019
For years, mankind has pondered over the existence of ghosts, demons and the paranormal. Many have claimed to have experienced it firsthand, while others dedicate their lives and careers to debunking those experiences. It seems to be a question that no one has been able to answer or prove one way or the other, and this fear of the unknown has been the basis of a number of popular horror stories.
Based on the stage play of the same name, ‘Ghost Stories’ follows skeptic Professor Phillip Goodman’s (Nyman) investigation of three unsolved cases, each one detailing a different haunting. After meeting with his idol and fellow skeptic Charles Cameron, and feeling deflated when he begins to question his lifelong skepticism, Goodman meets with former night watchman Tony Matthews (Whitehouse), teenager Simon Rifkind (Lawther), and businessman Mike Priddle (Freeman) to learn about their firsthand experiences with the supernatural. The film is split into three segments, allowing each character to explain their case through the use of flashbacks where we get to see exactly what happened to the characters.
Throughout these flashbacks, Nyman and Dyson have utilised a number of popular horror techniques that will make you jump out of your seat, or hide behind your hands. There’s a serious feeling of unease throughout the entire film, and you have no idea what’s going to happen next. Even as an avid fan of the genre, I found myself genuinely terrified during a large portion of the film. ‘Ghost Stories’ knows exactly how to pace a horror film, and how to leave an audience uncomfortable yet unable to look away from the screen. Whilst the jump scare is inevitable, the film doesn’t overuse these and instead finds ways to build tension and fear, which actually heightens the experience because you find yourself trying to predict when something’s going to pop out at you. It leaves you on edge for the entire ninety minutes, which in my mind, is exactly what a horror film should do.
The stories told by each of the men are gripping, and the actors all do exceptional jobs of portraying their characters. Each of the men interviewed by Goodman are very different in their class backgrounds, beliefs and personalities, but are united in their adamancy that they did experience hauntings and that they left them completely shaken up afterwards. This reinforces the idea that the supernatural can target anyone, and leave anyone feeling helpless. Particular praise has to be given to Alex Lawther; after seeing him in season 3 of ‘Black Mirror’ I had high hopes, and he delivered. He’s certainly one to watch and I look forward to seeing what he gets up to next.
‘Ghost Stories’ is incredibly British in nature, mixing the right amount of dry humour and satire into what is an utterly terrifying experience overall. Other critics have said it’s the best British horror film in years, and I couldn’t agree more. It’s an incredibly gripping story that has a lot of twists and turns, and tugs at all of your heartstrings. Alongside the characters, I went through a number of emotions and felt fully invested in their lives. These are all characters that feel familiar, they’re your average human, which throws realism into the mix. Being able to identify with characters in a horror film makes your fear 100 times worse.
This film is best experienced with as little context as possible, if you walk into it completely blind, I believe you’ll get maximum enjoyment out of it. The trailers have done a great job at keeping it as vague as possible, which was a bonus. There’s nothing worse than trailers giving everything away in a few seconds. ‘Ghost Stories’ does have a twist ending, but I thought this was done brilliantly and I personally was unable to predict it. Nyman and Dyson have put so much effort into crafting an intense, thrilling, mysterious story and it’s seriously paid off. I’m now hoping ‘Ghost Stories’ will be returning to the stage soon, because I’ll be first in line for a ticket!
https://jumpcutonline.co.uk/ghost-stories/
Based on the stage play of the same name, ‘Ghost Stories’ follows skeptic Professor Phillip Goodman’s (Nyman) investigation of three unsolved cases, each one detailing a different haunting. After meeting with his idol and fellow skeptic Charles Cameron, and feeling deflated when he begins to question his lifelong skepticism, Goodman meets with former night watchman Tony Matthews (Whitehouse), teenager Simon Rifkind (Lawther), and businessman Mike Priddle (Freeman) to learn about their firsthand experiences with the supernatural. The film is split into three segments, allowing each character to explain their case through the use of flashbacks where we get to see exactly what happened to the characters.
Throughout these flashbacks, Nyman and Dyson have utilised a number of popular horror techniques that will make you jump out of your seat, or hide behind your hands. There’s a serious feeling of unease throughout the entire film, and you have no idea what’s going to happen next. Even as an avid fan of the genre, I found myself genuinely terrified during a large portion of the film. ‘Ghost Stories’ knows exactly how to pace a horror film, and how to leave an audience uncomfortable yet unable to look away from the screen. Whilst the jump scare is inevitable, the film doesn’t overuse these and instead finds ways to build tension and fear, which actually heightens the experience because you find yourself trying to predict when something’s going to pop out at you. It leaves you on edge for the entire ninety minutes, which in my mind, is exactly what a horror film should do.
The stories told by each of the men are gripping, and the actors all do exceptional jobs of portraying their characters. Each of the men interviewed by Goodman are very different in their class backgrounds, beliefs and personalities, but are united in their adamancy that they did experience hauntings and that they left them completely shaken up afterwards. This reinforces the idea that the supernatural can target anyone, and leave anyone feeling helpless. Particular praise has to be given to Alex Lawther; after seeing him in season 3 of ‘Black Mirror’ I had high hopes, and he delivered. He’s certainly one to watch and I look forward to seeing what he gets up to next.
‘Ghost Stories’ is incredibly British in nature, mixing the right amount of dry humour and satire into what is an utterly terrifying experience overall. Other critics have said it’s the best British horror film in years, and I couldn’t agree more. It’s an incredibly gripping story that has a lot of twists and turns, and tugs at all of your heartstrings. Alongside the characters, I went through a number of emotions and felt fully invested in their lives. These are all characters that feel familiar, they’re your average human, which throws realism into the mix. Being able to identify with characters in a horror film makes your fear 100 times worse.
This film is best experienced with as little context as possible, if you walk into it completely blind, I believe you’ll get maximum enjoyment out of it. The trailers have done a great job at keeping it as vague as possible, which was a bonus. There’s nothing worse than trailers giving everything away in a few seconds. ‘Ghost Stories’ does have a twist ending, but I thought this was done brilliantly and I personally was unable to predict it. Nyman and Dyson have put so much effort into crafting an intense, thrilling, mysterious story and it’s seriously paid off. I’m now hoping ‘Ghost Stories’ will be returning to the stage soon, because I’ll be first in line for a ticket!
https://jumpcutonline.co.uk/ghost-stories/
Purple Phoenix Games (2266 KP) rated Baseball Highlights: 2045 in Tabletop Games
Jul 6, 2019
It’s 2045. Baseball has bored everyone to death (NOT my opinion – GO CUBS GO!). So Big Baseball has turned to employing robots and players have begun to improve their game by adding cybernetic body parts to themselves. This is the future in which I want to live. Editorializing aside, only the best and most exciting players can make in the new bigs. Will your team of Naturals, Cyborgs, and Robots claim victory, or will your players be bound for the minors – or worse, the scrap heap?
Baseball Highlights: 2045 is a dueling card game with an interesting twist. It uses elements of card drafting, hand management, take that, and deck building to weave a satisfying experience that can be enjoyed by baseball fans and non-fans. I will not go into explaining the entire rulebook here, but I do want to touch on some items that turn this into something more than your run-of-the-mill deck builder.
DISCLAIMER: This game has quite a few mini expansions. While we do have all the expansions in our collection, we will only be reviewing the base game (though I am sure there are some promo cards in my “base game”). Should we decide to review the expansions in the future, we will add it here or link to the full review. -T
Each player begins the game with a deck of starter players belonging to a generic team (Chicago, Detroit, San Francisco, etc). Each card has a combination of immediate actions, threatened base hits, pawn movement speed, and costs printed on them. By playing a card from your hand on your turn you will threaten a hit, cancel your opponent’s hit(s), and/or attempt to score your runners home. Here’s the twist. The Visitor player will play the first card and potentially threaten a hit. Play then stops and it is the Home player’s turn to try to affect the threatened hit(s) using a card from their hand. If they can cancel the hit, then the Visitor player’s plans are dashed and play returns to them to try to cancel the Home player’s now-threatened hits. This back and forth using different portions of each card is a little awkward to get used to, but after you get the hang of it, becomes a very cool little variation on the simplistic card value comparisons found in WAR.
After you play through your hand of cards and determine the mini-game winner, a phase of the game to draft “free agents” allows players to use icons on the cards to purchase stronger cards from the offer row. If the alternating play of the main game had your head spinning then deciding which of your teammates to replace with free agents will definitely cause some anxiety. But this is how your team improves. Do you get rid of the player that threatens Home Runs but provides you with zero purchasing power or do you oust him to the minors to call up Kris Correa? These are important decisions, coach!
Components. This game is basically a card duel game with player mats and tracking tokens that are completely unnecessary (but very nice). The cards are great quality! The individual player mats are a great place to organize your game cards and components. The pawns are just red, white, and blue wooden pawns. Nothing special there, but the colors are important and symbolize how fast the baserunners are. The components are great, and the insert is functional, so that’s a huge bonus for me.
Is the game good? Quite. I love the back and forth. I LOVE the baseball theme. I love the deck building aspect. I love being able to use this game as a tournament game, though I haven’t yet played it that way. Maybe soon! In any case, this is an excellent game and definitely worth taking a look at and trying for yourself. We at Purple Phoenix Games give this one an over the fence bomb of 9 / 12 (with special guest scorer Tony – I think Josh will like it, but I’m unsure if Bryan will).
Baseball Highlights: 2045 is a dueling card game with an interesting twist. It uses elements of card drafting, hand management, take that, and deck building to weave a satisfying experience that can be enjoyed by baseball fans and non-fans. I will not go into explaining the entire rulebook here, but I do want to touch on some items that turn this into something more than your run-of-the-mill deck builder.
DISCLAIMER: This game has quite a few mini expansions. While we do have all the expansions in our collection, we will only be reviewing the base game (though I am sure there are some promo cards in my “base game”). Should we decide to review the expansions in the future, we will add it here or link to the full review. -T
Each player begins the game with a deck of starter players belonging to a generic team (Chicago, Detroit, San Francisco, etc). Each card has a combination of immediate actions, threatened base hits, pawn movement speed, and costs printed on them. By playing a card from your hand on your turn you will threaten a hit, cancel your opponent’s hit(s), and/or attempt to score your runners home. Here’s the twist. The Visitor player will play the first card and potentially threaten a hit. Play then stops and it is the Home player’s turn to try to affect the threatened hit(s) using a card from their hand. If they can cancel the hit, then the Visitor player’s plans are dashed and play returns to them to try to cancel the Home player’s now-threatened hits. This back and forth using different portions of each card is a little awkward to get used to, but after you get the hang of it, becomes a very cool little variation on the simplistic card value comparisons found in WAR.
After you play through your hand of cards and determine the mini-game winner, a phase of the game to draft “free agents” allows players to use icons on the cards to purchase stronger cards from the offer row. If the alternating play of the main game had your head spinning then deciding which of your teammates to replace with free agents will definitely cause some anxiety. But this is how your team improves. Do you get rid of the player that threatens Home Runs but provides you with zero purchasing power or do you oust him to the minors to call up Kris Correa? These are important decisions, coach!
Components. This game is basically a card duel game with player mats and tracking tokens that are completely unnecessary (but very nice). The cards are great quality! The individual player mats are a great place to organize your game cards and components. The pawns are just red, white, and blue wooden pawns. Nothing special there, but the colors are important and symbolize how fast the baserunners are. The components are great, and the insert is functional, so that’s a huge bonus for me.
Is the game good? Quite. I love the back and forth. I LOVE the baseball theme. I love the deck building aspect. I love being able to use this game as a tournament game, though I haven’t yet played it that way. Maybe soon! In any case, this is an excellent game and definitely worth taking a look at and trying for yourself. We at Purple Phoenix Games give this one an over the fence bomb of 9 / 12 (with special guest scorer Tony – I think Josh will like it, but I’m unsure if Bryan will).
Ivana A. | Diary of Difference (1171 KP) rated Beast Rider in Books
Oct 5, 2020
A fantasy that stays true to many young people, that dare cross a border, searching for a better life. A fantasy, but also a cruel reality of what truly happens to these young boys and girls, and all the journeys they have to go through, fighting for a better tomorrow.
This is the first book I have read by Tony Johnston, and the reason I chose to read Beast Rider was because we get to see a twelve-year-old Manuel leave his small town in Mexico to join his older brother in the US.
As a girl myself, I had a family member that lived in another country, and I have always had my inner battle of going abroad to search for a better tomorrow and sadness of leaving my old life behind. With Manuel, you get to feel his hopes and fears, his nostalgia for his hometown and family, his thoughts and learnings at every step of his journey.
A few points bothered me slightly; the grammar in this book needs to be edited immediately. The character keeps using two words in a row row, and after a while while, it gets quite off putting off putting (you see what I mean?). I truly hope this is editing mistake, and not a writing style. There are a lot of Mexican words, without any glossary included. I can understand the words, but some people wouldn’t – and not being able to know the meaning can be a nuisance.
While reading about the journey of Manuel, I couldn’t help but remember exactly how I felt in a few points of my journey:
To Go or Not To Go
Manuel’s brother left the small Mexican village and now lives in Los Angeles. Manuel loves his big brother, and wants to join him desperately. He secretly plans his journey and decides to leave the town, after a lot of hesitation, in order to find his older brother. The battle between to go or not to go is the biggest battle one person can have with themselves. It is always hard, no matter which way one decides to go. And when Manuel decides it is time to go, I knew exactly how he felt, when I myself made that hard decision as well, and left my comfortable home to go and live in a foreign country.
The Journey To a Better Tomorrow
Manuel’s journey is not easy at all. In order to cross the US border, he had to become a ‘’beast rider’’ – someone who hops on a train. He tries multiple times, and various unlucky things happen to him, he gets stopped by the police, he is attached by a gang, people steal his most valuable items. But despite everything, Manuel’s spirit never leaves him, he is always hopeful he will find his brother soon. I loved the motivation and determination in the young Manuel, and it is so amazing to watch him grow through his experiences.
The Final Destination – Was This What I Really Wanted?
After all his endeavours, we finally get to see Manuel reunite with his brother. But what happens if you finally reach your destination, and this happens to not be what you wanted to? Manuel struggles to fit in this lifestyle, he can’t recognise himself, or his brother, and he is emotionally wrecked. He misses his family back home, and he realises that what he thought he would achieve once he finds his brother is not happening. When you feel all roads are closing on you, it is time to make a decision. And making his final decision, Manuel proves to have grown so much, and I admired him this entire book.
A beautiful story about all the emotions and journeys that young people go to. We all have dreams, and some of us reach for them, and act on them. Sometimes, these dreams turn out to be our life-changers, and sometimes, these dreams seem great, but are not ours to take. And this book showed me that that’s fine too. It’s okay to realise you suddenly don’t belong. It’s okay to act on your dreams, and it’s also okay to make mistakes. As long as you stay true to yourself, everything will be alright.
This is the first book I have read by Tony Johnston, and the reason I chose to read Beast Rider was because we get to see a twelve-year-old Manuel leave his small town in Mexico to join his older brother in the US.
As a girl myself, I had a family member that lived in another country, and I have always had my inner battle of going abroad to search for a better tomorrow and sadness of leaving my old life behind. With Manuel, you get to feel his hopes and fears, his nostalgia for his hometown and family, his thoughts and learnings at every step of his journey.
A few points bothered me slightly; the grammar in this book needs to be edited immediately. The character keeps using two words in a row row, and after a while while, it gets quite off putting off putting (you see what I mean?). I truly hope this is editing mistake, and not a writing style. There are a lot of Mexican words, without any glossary included. I can understand the words, but some people wouldn’t – and not being able to know the meaning can be a nuisance.
While reading about the journey of Manuel, I couldn’t help but remember exactly how I felt in a few points of my journey:
To Go or Not To Go
Manuel’s brother left the small Mexican village and now lives in Los Angeles. Manuel loves his big brother, and wants to join him desperately. He secretly plans his journey and decides to leave the town, after a lot of hesitation, in order to find his older brother. The battle between to go or not to go is the biggest battle one person can have with themselves. It is always hard, no matter which way one decides to go. And when Manuel decides it is time to go, I knew exactly how he felt, when I myself made that hard decision as well, and left my comfortable home to go and live in a foreign country.
The Journey To a Better Tomorrow
Manuel’s journey is not easy at all. In order to cross the US border, he had to become a ‘’beast rider’’ – someone who hops on a train. He tries multiple times, and various unlucky things happen to him, he gets stopped by the police, he is attached by a gang, people steal his most valuable items. But despite everything, Manuel’s spirit never leaves him, he is always hopeful he will find his brother soon. I loved the motivation and determination in the young Manuel, and it is so amazing to watch him grow through his experiences.
The Final Destination – Was This What I Really Wanted?
After all his endeavours, we finally get to see Manuel reunite with his brother. But what happens if you finally reach your destination, and this happens to not be what you wanted to? Manuel struggles to fit in this lifestyle, he can’t recognise himself, or his brother, and he is emotionally wrecked. He misses his family back home, and he realises that what he thought he would achieve once he finds his brother is not happening. When you feel all roads are closing on you, it is time to make a decision. And making his final decision, Manuel proves to have grown so much, and I admired him this entire book.
A beautiful story about all the emotions and journeys that young people go to. We all have dreams, and some of us reach for them, and act on them. Sometimes, these dreams turn out to be our life-changers, and sometimes, these dreams seem great, but are not ours to take. And this book showed me that that’s fine too. It’s okay to realise you suddenly don’t belong. It’s okay to act on your dreams, and it’s also okay to make mistakes. As long as you stay true to yourself, everything will be alright.
Rob P (30 KP) rated Avengers: Endgame (2019) in Movies
May 6, 2019
Sheer scope and spectacle (2 more)
satisfying conclusion to the Infinity/Avengers saga
Pretty much a 90 minute end battle scene
Unfair arc for some characters (1 more)
The end of an era! #cry
Love you 3000 - *Seriously - S P O I L E R S*
Contains spoilers, click to show
Well, what a long, strange, amazing trip it's been.
Assuming that everyone who sees this film is invested in the MCU, this doesn't disappoint. Although I'm a fan of the comics, you can't really compare the comic universe to the cinematic universe in terms of plot, it stands alone with its own intricacies, strengths and weaknesses.
I don't have a lot of negative things to say about this one, it's an involving, dramatic, action packed and beautiful piece of work from the Russo brothers, but I'll start with the one or two gripes I had.
From the start, they went with an odd route, one that I wasn't expecting . *SPOILERS* - Thanos as we know him, dies in the first 15 minutes of the film. Honestly was not expecting that. Robbed the satisfaction of build up for me, but ultimately the build up starts again, as the Avengers then go about stopping an alternate timeline Thanos from BEFORE the events of Guardians of the Galaxy by going to retrieve the infinity stones from different points in time (and the MCU movies), before Thanos finds them, so all is not lost on that front, there's still a Thanos to face.
One gripe was the arc of one particular character - our big green rage machine. After the events of infinity war, you'll remember, Hulk was left somewhat lacking, after getting his arse handed to him by Thanos and then refusing to come out for the rest of the film. I felt there was atonement due for him. Here we see Banner has now found catharsis with the Hulk, by staying in Hulk form with his own personality in the five years since the snap. That's all well and good, but after the death of a certain other member of the Avengers after retrieving the Soulstone, I thought - right. Now Hulk will smash. Now we have to see him go ham on someone. Nothing. Not even an action shot of Hulk fighting in the entire last battle scene, which only would have taken 20 seconds out of an entire 90 minute battle. I would have liked to have seen Hulk Vs Thanos, even if for a brief moment, whether Banner came out on top or not. Banner actually using his own anger, which by his own admission in Avengers Assemble, he has. All the time. It felt an unfair way to end one of the major characters stories, for seemingly what would have taken so little to make. it's not like they lacked the CGI budget, after all. Instead, Scarlet Witch gets a showdown with Thanos, and she's not even a particularly major player within the Avengers team, again don't get me wrong, after Vision she deserves a shot. But Hulk more so... It seemed silly to me.
The other negative for me, was Thor. Another slightly disappointing arc for the god of thunder. I felt he was robbed of all the awesomeness Taika rejuvenated him with from Ragnarok, which then continued into Infinity War. They turned him into God of amazing lightning and patron saint of badassery, with a new axe that just gives him a look as cool as they other side of the pillow. Now, the Russo's have had him drink himself to death, making him bloated and filled with sadness and regret. Don't get me wrong. Thor has more reason than most to be that way, he's lost everything over his story arc. I think that by letting him kill Thanos at the beginning, they robbed him of his real purpose, which is to be the strongest of the avengers (arguably) and just be the badass we all know he is. The one positive thing about this, is Thor's new aesthetic actually makes him look like a viking, which was amazing. Braided beard, heavy set, long hair. Great stuff, made him feel much more realistic in that sense, just again I think it was a bit of an unfair arc for him. Although, as he's now set to join GOTG, there's plenty of time to atone.
That's my two cents on the negs of this one. Now for positives:
My god, the scope and sheer spectacle of the MCU films rarely disappoint, this is no exception. just some absolutely jaw dropping sequences, especially when you have the big three (Stark, Cap and Thor) trying to stop Thanos before the major battle scene. It's stuff to make you weep tears of pure joy.
Following on from that, the moment where it's confirmed the snap has been reversed and the portals open up, the armies of Wakanda come out chanting along with just EVERYBODY, and that Avengers music starts up... goosebumps just thinking about it.
The involvement and rounding of previous MCU films in the first half of the movie is intense and satisfying, as the group split up into different places in time to retrieve the stones. Lots of nods to different franchises, nice bit of exposition, and certain parts in particular are just happy, like seeing Tony talking to his father back in the 70's without him realising who he is. Wonderful Stuff.
We all knew there would be deaths, I felt that these were handled gracefully and tactfully, giving the best service for the characters and fans. At the same time, they were not predictable, which i felt was definitely important.
As a last word, anyone who's ever watched a marvel film or had interest in the comics needs to see this. There is a list published of the films you need to see beforehand to fully appreciate the time travel segments, but it's not absolutely necessary. It just helps you appreciate the thought that has gone into rounding off the biggest cinematic series in history, all the in jokes and nuances that the Russo's included to really make this serviceable to the fans.
The end of an era, and as a crescendo to the the symphony started by the rest of MCU, it's just plain beautiful.
Love you 3000, folks.
- Rob
Assuming that everyone who sees this film is invested in the MCU, this doesn't disappoint. Although I'm a fan of the comics, you can't really compare the comic universe to the cinematic universe in terms of plot, it stands alone with its own intricacies, strengths and weaknesses.
I don't have a lot of negative things to say about this one, it's an involving, dramatic, action packed and beautiful piece of work from the Russo brothers, but I'll start with the one or two gripes I had.
From the start, they went with an odd route, one that I wasn't expecting . *SPOILERS* - Thanos as we know him, dies in the first 15 minutes of the film. Honestly was not expecting that. Robbed the satisfaction of build up for me, but ultimately the build up starts again, as the Avengers then go about stopping an alternate timeline Thanos from BEFORE the events of Guardians of the Galaxy by going to retrieve the infinity stones from different points in time (and the MCU movies), before Thanos finds them, so all is not lost on that front, there's still a Thanos to face.
One gripe was the arc of one particular character - our big green rage machine. After the events of infinity war, you'll remember, Hulk was left somewhat lacking, after getting his arse handed to him by Thanos and then refusing to come out for the rest of the film. I felt there was atonement due for him. Here we see Banner has now found catharsis with the Hulk, by staying in Hulk form with his own personality in the five years since the snap. That's all well and good, but after the death of a certain other member of the Avengers after retrieving the Soulstone, I thought - right. Now Hulk will smash. Now we have to see him go ham on someone. Nothing. Not even an action shot of Hulk fighting in the entire last battle scene, which only would have taken 20 seconds out of an entire 90 minute battle. I would have liked to have seen Hulk Vs Thanos, even if for a brief moment, whether Banner came out on top or not. Banner actually using his own anger, which by his own admission in Avengers Assemble, he has. All the time. It felt an unfair way to end one of the major characters stories, for seemingly what would have taken so little to make. it's not like they lacked the CGI budget, after all. Instead, Scarlet Witch gets a showdown with Thanos, and she's not even a particularly major player within the Avengers team, again don't get me wrong, after Vision she deserves a shot. But Hulk more so... It seemed silly to me.
The other negative for me, was Thor. Another slightly disappointing arc for the god of thunder. I felt he was robbed of all the awesomeness Taika rejuvenated him with from Ragnarok, which then continued into Infinity War. They turned him into God of amazing lightning and patron saint of badassery, with a new axe that just gives him a look as cool as they other side of the pillow. Now, the Russo's have had him drink himself to death, making him bloated and filled with sadness and regret. Don't get me wrong. Thor has more reason than most to be that way, he's lost everything over his story arc. I think that by letting him kill Thanos at the beginning, they robbed him of his real purpose, which is to be the strongest of the avengers (arguably) and just be the badass we all know he is. The one positive thing about this, is Thor's new aesthetic actually makes him look like a viking, which was amazing. Braided beard, heavy set, long hair. Great stuff, made him feel much more realistic in that sense, just again I think it was a bit of an unfair arc for him. Although, as he's now set to join GOTG, there's plenty of time to atone.
That's my two cents on the negs of this one. Now for positives:
My god, the scope and sheer spectacle of the MCU films rarely disappoint, this is no exception. just some absolutely jaw dropping sequences, especially when you have the big three (Stark, Cap and Thor) trying to stop Thanos before the major battle scene. It's stuff to make you weep tears of pure joy.
Following on from that, the moment where it's confirmed the snap has been reversed and the portals open up, the armies of Wakanda come out chanting along with just EVERYBODY, and that Avengers music starts up... goosebumps just thinking about it.
The involvement and rounding of previous MCU films in the first half of the movie is intense and satisfying, as the group split up into different places in time to retrieve the stones. Lots of nods to different franchises, nice bit of exposition, and certain parts in particular are just happy, like seeing Tony talking to his father back in the 70's without him realising who he is. Wonderful Stuff.
We all knew there would be deaths, I felt that these were handled gracefully and tactfully, giving the best service for the characters and fans. At the same time, they were not predictable, which i felt was definitely important.
As a last word, anyone who's ever watched a marvel film or had interest in the comics needs to see this. There is a list published of the films you need to see beforehand to fully appreciate the time travel segments, but it's not absolutely necessary. It just helps you appreciate the thought that has gone into rounding off the biggest cinematic series in history, all the in jokes and nuances that the Russo's included to really make this serviceable to the fans.
The end of an era, and as a crescendo to the the symphony started by the rest of MCU, it's just plain beautiful.
Love you 3000, folks.
- Rob
Chris Sawin (602 KP) rated A Clockwork Orange (1971) in Movies
Jun 15, 2019
Alex DeLarge (Malcolm McDowell) is your average eighteen year old boy...if by average, you mean he fully embraces the old ultraviolence and wanders the streets with his three droogs causing havoc and doing whatever he likes; skipping school, breaking and entering, rape, and assault is just another average day in Alex's life. However, when a planned rape turns into an "accidental" murder, things start to turn fowl for Alex. His droogs turn on him and he winds up being caught by the police. He is then taken to a correctional facility where he spends the next few years, puts on the front that he's fully embraced the bible and that he's now a changed man. But when word makes round of the experimental Ludovico treatment, Alex realizes his chance at freedom and jumps through the proper hoops to get out of the penitentiary he finds himself in and get into the experimental facility where he can be "cured."
Alex is promised that he'll be a free man within a fortnight. The treatment consists of a drug known as Serum 114 being injected into the patient before making them sit through short films such as a man being beaten to a pulp, a woman being the sexual victim of several men, and a Nazi concentration camp film set to the soundtrack of Beethoven's ninth symphony. Alex begins to feel sick during the films and the doctors insist that it's part of the cure. Alex's love for music and Beethoven in general become one of the adverse effects of the treatment as the ninth symphony has the same effect on Alex as the urge to beat or rape someone would. Alex soon comes to realize that you can never go home again and that being a free man isn't all it's cracked up to be, especially after a treatment such as this.
It took 37 years after its initial theatrical release and 24 years of being alive on this planet (the original viewing of this film was in 2008) to finally get around to seeing A Clockwork Orange. The film starts and it makes the viewer feel like they've missed something entirely that everyone else already knows about, but as the film unravels it snowballs into a unique vision of cinema. There are shades of Altered States in A Clockwork Orange, but A Clockwork Orange feels much more polarizing in its presentation in comparison. Stanley Kubrick tries to shine this spotlight of beauty onto the most heinous of actions as the film’s classical score becomes the soundtrack to ferocious and almost inhuman desires. This is Kubrick’s adaptation of the 1962 novel of the same name written by Anthony Burgess and it’s incredible how the film is able to remain captivating over a two hour period.
The film has a stunning restoration on the two-disc Blu-ray anniversary edition. Kubrick always had a brilliant eye when it came to perspective and camera placement; the majority of that could be contributed to Kubrick’s frequent collaborations with cinematographer John Alcott. The long hallway shots and close-ups on memorably haunting facial expressions are some of the most significant scenes in the film. A Clockwork Orange is loaded with vibrant colors that make every frame jump off the screen despite the film nearing half a century in age. This was the first film to take advantage of Dolby Digital surround sound, which contributes to the film sounding as good as it does.
Even with Stanley Kubrick as director, A Clockwork Orange wouldn’t be the same without Malcolm McDowell. McDowell fits the Alex DeLarge role as perfectly as Robert Downey Jr fits Tony Stark; these actors are these characters. The speeches McDowell gives in the film along with how traumatized he is after the treatment process are two of the biggest takeaways after viewing the film. This was one of McDowell’s first on-screen roles, which is surprising given how enthralling he is. You will never think of, “Singin’ in the Rain,” the same way again after viewing A Clockwork Orange.
A Clockwork Orange is a unique expedition into insanity no matter how you look at it. The dialogue is unusual and the characters are this fantastic blend of bizarre and diabolical, but the film is consistently engrossing and never seems to lag. Prior to 1986, the A Clockwork Orange novel was published in the US without its final chapter and that’s the version of the film Kubrick adapted. Anthony Burgess praised Kubrick’s version of the film despite this, which is more than what Stephen King did with Kubrick’s adaptation of The Shining. Every shot in A Clockwork Orange grabs your attention largely in part to how it’s presented or the colors that leap off the screen. The novel is written in a way that’s difficult to read and that often translates on-screen. Like most of Kubrick’s work, A Clockwork Orange is for a specific audience. It is perhaps what Malcolm McDowell is known best for and probably shouldn’t be recommended to just anyone since it would likely soar over a modern day moviegoer. This isn’t the type of film to have on in the background while you text or play games on your phone. Ultraviolence is something you have to embrace and give your undivided attention to.
This is viewed by some as one of the greatest sci-fi films ever by some, but it isn’t any less pretentious than the rest of Stanley Kubrick’s work. A Clockwork Orange is mesmerizing with a performance from Malcolm McDowell that leaves a long lasting impact, but its affinity to utilize difficult to decipher jargon, nonstop innuendo being slammed into your face, and overuse of animalistic violence shackles the film from being more appealing to a wider audience. From a personal standpoint, A Clockwork Orange is one of Kubrick's best but it's easy to understand why it wouldn't be for everyone.
Alex is promised that he'll be a free man within a fortnight. The treatment consists of a drug known as Serum 114 being injected into the patient before making them sit through short films such as a man being beaten to a pulp, a woman being the sexual victim of several men, and a Nazi concentration camp film set to the soundtrack of Beethoven's ninth symphony. Alex begins to feel sick during the films and the doctors insist that it's part of the cure. Alex's love for music and Beethoven in general become one of the adverse effects of the treatment as the ninth symphony has the same effect on Alex as the urge to beat or rape someone would. Alex soon comes to realize that you can never go home again and that being a free man isn't all it's cracked up to be, especially after a treatment such as this.
It took 37 years after its initial theatrical release and 24 years of being alive on this planet (the original viewing of this film was in 2008) to finally get around to seeing A Clockwork Orange. The film starts and it makes the viewer feel like they've missed something entirely that everyone else already knows about, but as the film unravels it snowballs into a unique vision of cinema. There are shades of Altered States in A Clockwork Orange, but A Clockwork Orange feels much more polarizing in its presentation in comparison. Stanley Kubrick tries to shine this spotlight of beauty onto the most heinous of actions as the film’s classical score becomes the soundtrack to ferocious and almost inhuman desires. This is Kubrick’s adaptation of the 1962 novel of the same name written by Anthony Burgess and it’s incredible how the film is able to remain captivating over a two hour period.
The film has a stunning restoration on the two-disc Blu-ray anniversary edition. Kubrick always had a brilliant eye when it came to perspective and camera placement; the majority of that could be contributed to Kubrick’s frequent collaborations with cinematographer John Alcott. The long hallway shots and close-ups on memorably haunting facial expressions are some of the most significant scenes in the film. A Clockwork Orange is loaded with vibrant colors that make every frame jump off the screen despite the film nearing half a century in age. This was the first film to take advantage of Dolby Digital surround sound, which contributes to the film sounding as good as it does.
Even with Stanley Kubrick as director, A Clockwork Orange wouldn’t be the same without Malcolm McDowell. McDowell fits the Alex DeLarge role as perfectly as Robert Downey Jr fits Tony Stark; these actors are these characters. The speeches McDowell gives in the film along with how traumatized he is after the treatment process are two of the biggest takeaways after viewing the film. This was one of McDowell’s first on-screen roles, which is surprising given how enthralling he is. You will never think of, “Singin’ in the Rain,” the same way again after viewing A Clockwork Orange.
A Clockwork Orange is a unique expedition into insanity no matter how you look at it. The dialogue is unusual and the characters are this fantastic blend of bizarre and diabolical, but the film is consistently engrossing and never seems to lag. Prior to 1986, the A Clockwork Orange novel was published in the US without its final chapter and that’s the version of the film Kubrick adapted. Anthony Burgess praised Kubrick’s version of the film despite this, which is more than what Stephen King did with Kubrick’s adaptation of The Shining. Every shot in A Clockwork Orange grabs your attention largely in part to how it’s presented or the colors that leap off the screen. The novel is written in a way that’s difficult to read and that often translates on-screen. Like most of Kubrick’s work, A Clockwork Orange is for a specific audience. It is perhaps what Malcolm McDowell is known best for and probably shouldn’t be recommended to just anyone since it would likely soar over a modern day moviegoer. This isn’t the type of film to have on in the background while you text or play games on your phone. Ultraviolence is something you have to embrace and give your undivided attention to.
This is viewed by some as one of the greatest sci-fi films ever by some, but it isn’t any less pretentious than the rest of Stanley Kubrick’s work. A Clockwork Orange is mesmerizing with a performance from Malcolm McDowell that leaves a long lasting impact, but its affinity to utilize difficult to decipher jargon, nonstop innuendo being slammed into your face, and overuse of animalistic violence shackles the film from being more appealing to a wider audience. From a personal standpoint, A Clockwork Orange is one of Kubrick's best but it's easy to understand why it wouldn't be for everyone.
Purple Phoenix Games (2266 KP) rated Fantasy Ranch in Tabletop Games
Jun 12, 2019 (Updated Jun 12, 2019)
Little known fact: my family used to be involved with local harness racing and horse training. Not much actually rubbed off on me, personally, but I do remember going to the stables to visit with the horses, and I was even allowed to ride the stable goat since I wasn’t yet big enough to get on the horses. Ahh, memories. So when I heard that a game existed with a horse ranching theme, I just HAD to get it to the table. Is it a good game though? Let’s find out! (spoilers: IT’S EXCELLENT!)
DISCLAIMER: The game comes with three modes of difficulty AND an included children’s game that also can be played on three modes of difficulty. For this review we are concentrating only on adult mode two. We felt mode one was too introductory, but we did not want to go all in right away on mode three. -T
As with most board games, you are trying to amass trophies (VP) and the winner at the end of five rounds is the rancher with the most trophies. On your turn you can take one Limited (standard) Action and as many Free Actions as you would like. Limited Actions include: buy a horse, buy a location on your ranch board, or farm your ranch for goods. Free Actions include: sell a horse, move horses to/from your home area to/from a different area on your ranch board, or trade goods at a 2:1 ratio. Once every player has taken their turn, you enter a show using the horses you have collected.
Buying a horse requires different amounts of food (in carrots) that you gain from different actions (farming your ranch, selling a horse). Luckily, spending food is a one-time action and you don’t have to feed your horses every turn. A great improvement over other “feed your villagers” games, in my opinion – yeah, I said it. Buying a location on your ranch board/playmat requires “tack,” which is symbolized by boot tokens (as seen below). You can always get more food and tack by farming your ranch, and you receive six goods of any combination, but that’s a Limited Action and prevents you from doing the other actions.
Selling a horse is easy, yet the separation anxiety is real, as you simply discard the horse for the amount of food it costs to purchase. Moving horses is easy too – your Home area of your ranch/playmat can only hold so many horses, so you will need to move horses of certain types to unlocked (purchased) matching areas on your ranch. This is important, as you cannot keep buying red horses or you will certainly run out of room for them, even if you unlock the red area on your ranch board. Plus unlocking sections of your ranch provides you with trophies at game end. The last free action is trading goods, which you do at a 2:1 ratio. So trade in two food for a tack or vice versa.
At shows you use horses for their specific specialty skills plus a die roll. Each horse has specialty in one area, and some skill in other areas. The number associated with a skill icon indicates the starting skill “strength” that you will add to your die roll. You roll all three dice of your color, take the highest result from the roll, and add the skill strength of the horse skill. That’s your score for the show. The highest number is awarded 1st place and the rewards printed, and so on and so forth for the other placing horses. This could result in more food or tack, or even your choice of horses for free from the sales barn.
On the very last turn of the game you will compete in three shows (instead of the normal two shows at the end of each turn) and can only use World Class horses, or buy your way into the show with food. The show process is the same, but it is the final push to earn as many trophies as possible before game end. And that’s it!
Components: This game is FULL of components. It’s a pretty stocked and heavy box, but still only the size of a Ticket to Ride box. The playmats, game boards, and cardboard chits are all of really great quality. The cards are great quality as well with photos of real existing horses (as well as the photos of real existing ranches on the giant ranch cards that are essentially beautiful player reference cards and resource holders). The best components of the game are the super cute little horeeples (oh no, that can’t possibly be correct). Horse-meeples. They come in different colors to match the areas on your ranch that you need to unlock and move them into so you don’t overcrowd your Home area. Even though my copy came with a green horse who lost his front legs, we know that he competes hard and lives his best life. The art is really really great and, though busy on the board at times, the game looks really good on the table. No qualms with the components on this one at all.
Here’s what I really like about this one. It’s a euro through and through, but it’s a euro that is actually exciting, with a unique theme, and one that I genuinely cannot wait to play again. I want to try mode three as soon as I can, and I really want to introduce my son to the game as soon as he is able to handle it. I am finding it really really hard to think of a game that comes ready to play three ways for adults, has components included to play the game three ways with children, and is actually super fun. I can’t think of any. This game is truly in a class by itself.
I love that no matter how tactical you play or how strategic you want to make it, sometimes the dice love/hate you and it could make all the difference. As you can see in the scores, we all love it (with the exception of my cousin Tony who rated it a three because of the dice – WHICH is odd because it is his father that was the harness racing jockey of the family). This review would have been live a week ago, but immediately after playing last weekend Josh said he would like to bring it home to play with his family. His wife is from Kentucky, and they kinda like horses and horse racing there. Well, his wife and son also rated this game out of 6. His wife gave Fantasy Ranch a 15 and his son rated it a 16. As that completely throws off my rating scale I did not add them, but as you can see we at Purple Phoenix Games give this one a very boot-kickin’ 19 / 24. If only we hadn’t invited Tony over to destroy the scores… We highly recommend you check this winner out. Seriously, it’s great.
https://purplephoenixgames.wordpress.com/2019/06/04/fantasy-ranch-review/
DISCLAIMER: The game comes with three modes of difficulty AND an included children’s game that also can be played on three modes of difficulty. For this review we are concentrating only on adult mode two. We felt mode one was too introductory, but we did not want to go all in right away on mode three. -T
As with most board games, you are trying to amass trophies (VP) and the winner at the end of five rounds is the rancher with the most trophies. On your turn you can take one Limited (standard) Action and as many Free Actions as you would like. Limited Actions include: buy a horse, buy a location on your ranch board, or farm your ranch for goods. Free Actions include: sell a horse, move horses to/from your home area to/from a different area on your ranch board, or trade goods at a 2:1 ratio. Once every player has taken their turn, you enter a show using the horses you have collected.
Buying a horse requires different amounts of food (in carrots) that you gain from different actions (farming your ranch, selling a horse). Luckily, spending food is a one-time action and you don’t have to feed your horses every turn. A great improvement over other “feed your villagers” games, in my opinion – yeah, I said it. Buying a location on your ranch board/playmat requires “tack,” which is symbolized by boot tokens (as seen below). You can always get more food and tack by farming your ranch, and you receive six goods of any combination, but that’s a Limited Action and prevents you from doing the other actions.
Selling a horse is easy, yet the separation anxiety is real, as you simply discard the horse for the amount of food it costs to purchase. Moving horses is easy too – your Home area of your ranch/playmat can only hold so many horses, so you will need to move horses of certain types to unlocked (purchased) matching areas on your ranch. This is important, as you cannot keep buying red horses or you will certainly run out of room for them, even if you unlock the red area on your ranch board. Plus unlocking sections of your ranch provides you with trophies at game end. The last free action is trading goods, which you do at a 2:1 ratio. So trade in two food for a tack or vice versa.
At shows you use horses for their specific specialty skills plus a die roll. Each horse has specialty in one area, and some skill in other areas. The number associated with a skill icon indicates the starting skill “strength” that you will add to your die roll. You roll all three dice of your color, take the highest result from the roll, and add the skill strength of the horse skill. That’s your score for the show. The highest number is awarded 1st place and the rewards printed, and so on and so forth for the other placing horses. This could result in more food or tack, or even your choice of horses for free from the sales barn.
On the very last turn of the game you will compete in three shows (instead of the normal two shows at the end of each turn) and can only use World Class horses, or buy your way into the show with food. The show process is the same, but it is the final push to earn as many trophies as possible before game end. And that’s it!
Components: This game is FULL of components. It’s a pretty stocked and heavy box, but still only the size of a Ticket to Ride box. The playmats, game boards, and cardboard chits are all of really great quality. The cards are great quality as well with photos of real existing horses (as well as the photos of real existing ranches on the giant ranch cards that are essentially beautiful player reference cards and resource holders). The best components of the game are the super cute little horeeples (oh no, that can’t possibly be correct). Horse-meeples. They come in different colors to match the areas on your ranch that you need to unlock and move them into so you don’t overcrowd your Home area. Even though my copy came with a green horse who lost his front legs, we know that he competes hard and lives his best life. The art is really really great and, though busy on the board at times, the game looks really good on the table. No qualms with the components on this one at all.
Here’s what I really like about this one. It’s a euro through and through, but it’s a euro that is actually exciting, with a unique theme, and one that I genuinely cannot wait to play again. I want to try mode three as soon as I can, and I really want to introduce my son to the game as soon as he is able to handle it. I am finding it really really hard to think of a game that comes ready to play three ways for adults, has components included to play the game three ways with children, and is actually super fun. I can’t think of any. This game is truly in a class by itself.
I love that no matter how tactical you play or how strategic you want to make it, sometimes the dice love/hate you and it could make all the difference. As you can see in the scores, we all love it (with the exception of my cousin Tony who rated it a three because of the dice – WHICH is odd because it is his father that was the harness racing jockey of the family). This review would have been live a week ago, but immediately after playing last weekend Josh said he would like to bring it home to play with his family. His wife is from Kentucky, and they kinda like horses and horse racing there. Well, his wife and son also rated this game out of 6. His wife gave Fantasy Ranch a 15 and his son rated it a 16. As that completely throws off my rating scale I did not add them, but as you can see we at Purple Phoenix Games give this one a very boot-kickin’ 19 / 24. If only we hadn’t invited Tony over to destroy the scores… We highly recommend you check this winner out. Seriously, it’s great.
https://purplephoenixgames.wordpress.com/2019/06/04/fantasy-ranch-review/
Darren (1599 KP) rated Triple Threat (2019) in Movies
Jul 2, 2019
Story: Triple Threat starts when a group of professional assassins led by Devereaux (White) breaks Collins (Adkins) out of a remote holding location in the jungle, Jaka (Uwais) is the only survive of the assault which sees the love of his life killed. Xian (Jade) the daughter of a billionaire is planning to use her fortune to take down a crime syndicate, which makes her a big target for the syndicate.
Jaka searching for the people responsible locates two members of the team Paya (Jaa) and Long Fei (Chen) who were also left for dead by the assassins, soon Payu and Long Fei will find themselves needing to defend Xian, while Jaka using other means to get revenge.
Thoughts on Triple Threat
Characters – Payu is one of the guides that helps the assassins through the jungle, he is betrayed and left for dead with his partner, returning to the underground fighting scene for money, he soon finds himself going up against the assassins once again, using his connections from his mysterious past to do the right thing. Long Fei is the partner of Payu, he is much more straight down the line with everything, equally as good in combat, the two make for a deadly team. Jaka is one of the guards of the camp, he is left for dead and left to bury his wife, he wants revenge and knows how to get it, he is hunting down everybody involved, playing them against each other to get what he wants. Collins is the leader of the assassins, broken out of prison to take on the latest job, he must complete the last job, which sees him hunting down Payu and Long Fei, while leading his team in the assassination mission of Xian. He is cocky and believes he can always win in a fight against any level of opponent. Xian is the daughter of a billionaire, she has made it clear she will be giving up for fortune to make the streets clean for the next generation of children, this sees her being the target for the crime syndicates of the country, forcing her to figure out who to trust for her own safety. Devereaux is the second in command, he doesn’t trust Jaka in any of the missions and is quite happy to watch anywhere they have worked burn to the ground.
Performances – This has a cast that will be an action fans dream, Tony Jaa, Tiger Hu Chen and Iko Uwais fighting is something we can watch all day long, seeing the human side of the story has help show how the three are improving outside of the action scenes in film too. Scott Adkins in the villainous role works very well too showing his fighting skills, while being a villain that is easy to see how they are performing through the film. Celina Jade and Michael Jai White complete the main cast not putting a foot wrong through the film.
Story – The story here follows an elite group of assassins that have been hired to eliminate a billionaire woman that wants to end the crime world going on in her home land, only for her to need to turn to new mercenaries who will be the ones that will keep her safe from the danger. This is a story that focuses on the action over any really difficult subjects going on, we do get people coming from different sides searching for a moment which will see them getting their own objective, be it a paid job, revenge or change. The story is mostly, lets get to this location or lets get away from this location usually involving a fight along the way, it is nothing completed hitting everything it needs to by the end of the film.
Action – The action brings some of the best martial artists together in dream fight matches, we have each unique style given to the actors involved, they don’t go to the full levels of their hits or give away all their best moves.
Settings – The film does use the settings to create different locations for the fights, be it the jungle, the police station or the final showdown location.
Scene of the Movie – Seeing Jaa, Uwais and Adkins fight.
That Moment That Annoyed Me – The fact they don’t let Xian show any fighting skills.
Final Thoughts – This is a fun action film that brings together some of the brightest fighting stars in the business today in a story which will see them get a chance to fight.
Overall: Pure action fun.
Jaka searching for the people responsible locates two members of the team Paya (Jaa) and Long Fei (Chen) who were also left for dead by the assassins, soon Payu and Long Fei will find themselves needing to defend Xian, while Jaka using other means to get revenge.
Thoughts on Triple Threat
Characters – Payu is one of the guides that helps the assassins through the jungle, he is betrayed and left for dead with his partner, returning to the underground fighting scene for money, he soon finds himself going up against the assassins once again, using his connections from his mysterious past to do the right thing. Long Fei is the partner of Payu, he is much more straight down the line with everything, equally as good in combat, the two make for a deadly team. Jaka is one of the guards of the camp, he is left for dead and left to bury his wife, he wants revenge and knows how to get it, he is hunting down everybody involved, playing them against each other to get what he wants. Collins is the leader of the assassins, broken out of prison to take on the latest job, he must complete the last job, which sees him hunting down Payu and Long Fei, while leading his team in the assassination mission of Xian. He is cocky and believes he can always win in a fight against any level of opponent. Xian is the daughter of a billionaire, she has made it clear she will be giving up for fortune to make the streets clean for the next generation of children, this sees her being the target for the crime syndicates of the country, forcing her to figure out who to trust for her own safety. Devereaux is the second in command, he doesn’t trust Jaka in any of the missions and is quite happy to watch anywhere they have worked burn to the ground.
Performances – This has a cast that will be an action fans dream, Tony Jaa, Tiger Hu Chen and Iko Uwais fighting is something we can watch all day long, seeing the human side of the story has help show how the three are improving outside of the action scenes in film too. Scott Adkins in the villainous role works very well too showing his fighting skills, while being a villain that is easy to see how they are performing through the film. Celina Jade and Michael Jai White complete the main cast not putting a foot wrong through the film.
Story – The story here follows an elite group of assassins that have been hired to eliminate a billionaire woman that wants to end the crime world going on in her home land, only for her to need to turn to new mercenaries who will be the ones that will keep her safe from the danger. This is a story that focuses on the action over any really difficult subjects going on, we do get people coming from different sides searching for a moment which will see them getting their own objective, be it a paid job, revenge or change. The story is mostly, lets get to this location or lets get away from this location usually involving a fight along the way, it is nothing completed hitting everything it needs to by the end of the film.
Action – The action brings some of the best martial artists together in dream fight matches, we have each unique style given to the actors involved, they don’t go to the full levels of their hits or give away all their best moves.
Settings – The film does use the settings to create different locations for the fights, be it the jungle, the police station or the final showdown location.
Scene of the Movie – Seeing Jaa, Uwais and Adkins fight.
That Moment That Annoyed Me – The fact they don’t let Xian show any fighting skills.
Final Thoughts – This is a fun action film that brings together some of the brightest fighting stars in the business today in a story which will see them get a chance to fight.
Overall: Pure action fun.
BankofMarquis (1832 KP) rated Toy Story 4 (2019) in Movies
Jun 25, 2019
Another TOY STORY triumph for PIXAR
When I first heard that Pixar was going to make a 4th TOY STORY film, I found myself firmly in the camp of "why are they doing this? The 3rd film tied off the trilogy marvelously well and 4th film was not needed" But...I trust Pixar, and when it was revealed that both Tom Hanks and Tim Allen were back on board after reading the script, my fears were alleviated quite a bit, but I still had some unease in the pit of my stomach.
I shouldn't have worried. For TOY STORY 4 is a wonderful addition to the adventures of Woody, Buzz and gang. It fits in nicely with the other films in the series and brings just the right amount of joy, fun, adventure and emotional heft.
Picking up the adventures of these toys as they now belong to Bonnie (after being gifted to Bonnie when their original owner, Andy, went off to college at the end of Toy Story 3), things have progressed realistically enough. The "order of things" in Bonnie's room is somewhat different than in Andy's. Woody, the old Cowboy doll, is relegated (more often than not) to the closet while Bonnie plays more with Jessie, Buzz and others. Into this group comes "Forky" a plastic spork that is made into a toy by Bonnie at Kindergarten. In a nice reversal of the first Toy Story film, Woody works hard to ensure that Forky is accepted into the group.
Without revealing too much of the plot, the gang (including Woody and Forky) go on a roadtrip with Bonnie in her parents' rented RV and end up in a small-ish town where a carnival is taking place across the street from an Antique store that houses Woody's old flame, Bo Peep. New characters are introduced, old characters are given a moment (or two) to shine and adventures and shenanigans ensue, with an emotionally satisfying climax - you know, a TOY STORY film.
This one continues to progress these toys "lives" and adventures in such a smart, natural and clever way that I did not feel that I was watching the same film again. I was watching characters I love continue to live, learn, grow and progress - a very smart choice by these filmmakers.
As always, the voice cast is superb. Tim Allen (Buzz Lightyear), Joan Cusak (Jessie), Wallace Shawn (Rex), John Ratzenberger (Piggy) and even the late Don Rickles (Mr. PotatoHead) are all back and contribute greatly to the finished result. It is like putting on an old, comfortable sweater on a somewhat chilly day. You get a reassuring shiver of warmth.
But the filmmakers don't stop there - Annie Potts is back as Bo Peep (she - and the Bo Peep character - were in the original Toy Story). Add to these voices, the marvelous work by Christina Hendricks (Gabby Gabby), Key & Peele (Ducky & Bunny), Carl Weathers (all the Combat Carls) and Tony Hale (wonderfully quirky as Forky) and we have quite the ensemble of interesting, quirky characters - growing and enriching the "Universe" they are in (quite like what Marvel has done with their "Universe"). Special notice needs to be made of Keanu Reeves work as Canadian Daredevil toy Duke Kaboom (the Canadian Evil Kneivel), it is the most entertaining - to me - of all the new characters.
But...make no mistake...this film belongs to Tom Hanks as Woody. It has taken me 4 films to realize this, but Hanks good guy "everyman" portrayal of Woody is the heart and soul of these pictures and this 4th film is Woody's film - as his character comes full circle from the paranoid toy who wants to keep living his safe existence to something much, much more in this film. It isn't hyperbole of me to say that I would be just fine for Hanks to receive an Oscar nomination for his voice work in this film - he is that good.
Interestingly enough, Pixar brought in a novice Director, Josh Cooley, to helm this film. It is his first feature film directing experience, but he is a veteran Pixar face - having written INSIDE OUT and was the main Storyboard Artist for UP - his direction looks like someone who was comfortable in this medium - and with the style of film that Pixar (usually) goes for - and he does terrific work here.
I really enjoyed the journey of the characters (especially Woody) in this film. I need not have worried about Pixar making a 4th Toy Story - they nailed the landing again.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank (OfMarquis)
I shouldn't have worried. For TOY STORY 4 is a wonderful addition to the adventures of Woody, Buzz and gang. It fits in nicely with the other films in the series and brings just the right amount of joy, fun, adventure and emotional heft.
Picking up the adventures of these toys as they now belong to Bonnie (after being gifted to Bonnie when their original owner, Andy, went off to college at the end of Toy Story 3), things have progressed realistically enough. The "order of things" in Bonnie's room is somewhat different than in Andy's. Woody, the old Cowboy doll, is relegated (more often than not) to the closet while Bonnie plays more with Jessie, Buzz and others. Into this group comes "Forky" a plastic spork that is made into a toy by Bonnie at Kindergarten. In a nice reversal of the first Toy Story film, Woody works hard to ensure that Forky is accepted into the group.
Without revealing too much of the plot, the gang (including Woody and Forky) go on a roadtrip with Bonnie in her parents' rented RV and end up in a small-ish town where a carnival is taking place across the street from an Antique store that houses Woody's old flame, Bo Peep. New characters are introduced, old characters are given a moment (or two) to shine and adventures and shenanigans ensue, with an emotionally satisfying climax - you know, a TOY STORY film.
This one continues to progress these toys "lives" and adventures in such a smart, natural and clever way that I did not feel that I was watching the same film again. I was watching characters I love continue to live, learn, grow and progress - a very smart choice by these filmmakers.
As always, the voice cast is superb. Tim Allen (Buzz Lightyear), Joan Cusak (Jessie), Wallace Shawn (Rex), John Ratzenberger (Piggy) and even the late Don Rickles (Mr. PotatoHead) are all back and contribute greatly to the finished result. It is like putting on an old, comfortable sweater on a somewhat chilly day. You get a reassuring shiver of warmth.
But the filmmakers don't stop there - Annie Potts is back as Bo Peep (she - and the Bo Peep character - were in the original Toy Story). Add to these voices, the marvelous work by Christina Hendricks (Gabby Gabby), Key & Peele (Ducky & Bunny), Carl Weathers (all the Combat Carls) and Tony Hale (wonderfully quirky as Forky) and we have quite the ensemble of interesting, quirky characters - growing and enriching the "Universe" they are in (quite like what Marvel has done with their "Universe"). Special notice needs to be made of Keanu Reeves work as Canadian Daredevil toy Duke Kaboom (the Canadian Evil Kneivel), it is the most entertaining - to me - of all the new characters.
But...make no mistake...this film belongs to Tom Hanks as Woody. It has taken me 4 films to realize this, but Hanks good guy "everyman" portrayal of Woody is the heart and soul of these pictures and this 4th film is Woody's film - as his character comes full circle from the paranoid toy who wants to keep living his safe existence to something much, much more in this film. It isn't hyperbole of me to say that I would be just fine for Hanks to receive an Oscar nomination for his voice work in this film - he is that good.
Interestingly enough, Pixar brought in a novice Director, Josh Cooley, to helm this film. It is his first feature film directing experience, but he is a veteran Pixar face - having written INSIDE OUT and was the main Storyboard Artist for UP - his direction looks like someone who was comfortable in this medium - and with the style of film that Pixar (usually) goes for - and he does terrific work here.
I really enjoyed the journey of the characters (especially Woody) in this film. I need not have worried about Pixar making a 4th Toy Story - they nailed the landing again.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank (OfMarquis)
Hadley (567 KP) rated The Institute in Books
Oct 24, 2019
Likable characters (1 more)
Paranormal
Sexualizing children (1 more)
Not a regular King story
At around 95 novels, Stephen King, who is one of the most well-known authors of our time, debuts a possible new novel series about psychic children. 'The Institute' mostly takes place in a hidden facility located in a wooded area of Maine,where readers follow a kidnapped child prodigy named Luke Ellis, and the government experiments that are inflicted on him to heighten his psychic powers.
So why is the government kidnapping children to conduct psychic research on them? At first, it may seem just that: psychic research, because psychic powers seem to be more powerful in young children than adults, but nothing is what it seems. As the boss of this Institute says to the children: " ' There's a war going on, and you have been called upon to serve your country.' " A few sentences later, and she explains it a little more in depth for Ellis: " ' This is not an arms race but a mind race, and if we lose, the consequences would be more than dire; they would be unimaginable. You may only be twelve, but you are a soldier in an undeclared war. The same is true of Kalisha and the others. Do you like it? Of course not. Draftees never do, and draftees sometimes need to be taught that there are consequences for not following orders. I believe you've already had one lesson in that regard. If you're as bright as your records say you are, perhaps you won't need another. If you do, however, you'll get it. This is not your home. This is not your school. You will not simply be given an extra chore or sent to the principal's office or given detention; you will be punished. Clear? ' "
King writes in a third-person point-of-view, which makes it a little disturbing that when any female character he introduces (including girls as young as 11-years-old) are usually introduced by their breast size. It's not uncommon for male writers to introduce female characters this way, but when most of them are children, it can be very off putting for readers. One scene, King makes Ellis notice that Kalisha has 'her hands on her mostly nonexistent hips,' then writes about the character Helen in the same scene: " Another door opened and Helen Simms appeared, clad - - - sort of - - - in what Luke believed were called babydoll pajamas. She had hips, plus other interesting equipment. " Both of these characters are only twelve-years-old.
Aside from the children, King also introduces an important character named Tim Jamieson. This character starts the novel off before readers meet Ellis; we learn that he is a former cop who is traveling to New York while taking odd jobs on his way there, including a night knocker job in DuPray, South Carolina (which becomes very important later on in the story) .
Avery, my personal favorite character in the book, is a ten-year-old who acts like a five-year-old, " The screamer was a little boy in Star Wars pajamas, hammering on doors with small fists that went up and down like pistons. Ten? Avery Dixon looked six, seven at most. The crotch and one leg of his pajama pants were wet and sticking to him. " Dixon and Kalisha are both in the Institute for telepathy. " 'You know so,' Kalisha said, and began to stroke the little boy's [Dixon] hair again. Like had a sense - - - maybe bullshit, maybe not - - - that a lot was going on between them. Inside traffic. " And quickly, the group of children become protective of Dixon, " 'But you need to take care of this one for as long as you can. When I think of Tony or Zeke or that bitch Winona hitting Avery, it makes me want to cry. ' " Kalisha confides in Ellis.
Kalisha, one of the other children that has been kidnapped, is another very likable character that seems to keep all of the other kids' spirits up by either keeping them out of trouble with advice or stopping small fights between them. Another kid named Nicky, the troublemaker of the group, is the stereo-typical bad boy. He gets involved in fistfights with the orderlies that work at the Institute, taking quite a bit of abuse in return. But eventually, the rebelliousness catches up with him, leading him to be moved from Front Half to the dreaded Back Half.
Readers later learn that Back Half is worse than Front Half. Most questions we may have about why the Institute is abusing these children are all answered when readers get to see into Back Half from Kalisha's point-of-view. But what is left unanswered is exactly how many children have been through the Institute? From the amount of children seen just in this story, the numbers could be in the hundreds of thousands!
But, as expected, the children come up with a plan to escape - - - with giving as little detail as possible, an orderlie at the Institute is helped by one of the children with a personal problem, and in return, this orderlie decides to help one of them escape and reveal everything that is the Institute. The instance the escape starts being discussed is when the book really picks up.
King's writing of the abuse our characters sustain is very real (" When Stevie Whipple asked where he'd been and what was wrong, Luke just shook his head. He didn't want to talk about the tank. Not now, not ever. He supposed it was like being in a war. You got drafted, you went, but you didn't want to talk about what you'd seen, or what had happened to you there." ) The scene in which Ellis refuses to speak of is where the orderlie Zeke is trying to make Ellis confess that he is not only telekinesis, but also telepathic: "Zeke hauled him up by the hair. His white tunic was soaked. He looked fixedly at Luke. 'I'm going to put you down again, Luke. Again and again and again. I'll put you down until you drown and then we'll resuscitate you and drown you again and resuscitate you again. Last chance: what number am I thinking of?' "
King brings up a fictional belief that strikes fear in parents everywhere: children being kidnapped for government experiments. Readers witness Ellis' parents being killed, Kalisha being a surrogate mother to kids she barely knows, Nicky being beaten by adults when he refuses to get 'shots for dots,' night terrors, suicide, zap sticks and murder.
This book doesn't read like a regular King book; even with the paranormal aspects occurring in it, it doesn't add up to much. The horror aspect is more in the form of child abuse then paranormal moments. I would only recommend this book to fans of Netflix's 'Stranger Things' and Patterson's 'Maximum Ride.' I don't think I would read this again.
So why is the government kidnapping children to conduct psychic research on them? At first, it may seem just that: psychic research, because psychic powers seem to be more powerful in young children than adults, but nothing is what it seems. As the boss of this Institute says to the children: " ' There's a war going on, and you have been called upon to serve your country.' " A few sentences later, and she explains it a little more in depth for Ellis: " ' This is not an arms race but a mind race, and if we lose, the consequences would be more than dire; they would be unimaginable. You may only be twelve, but you are a soldier in an undeclared war. The same is true of Kalisha and the others. Do you like it? Of course not. Draftees never do, and draftees sometimes need to be taught that there are consequences for not following orders. I believe you've already had one lesson in that regard. If you're as bright as your records say you are, perhaps you won't need another. If you do, however, you'll get it. This is not your home. This is not your school. You will not simply be given an extra chore or sent to the principal's office or given detention; you will be punished. Clear? ' "
King writes in a third-person point-of-view, which makes it a little disturbing that when any female character he introduces (including girls as young as 11-years-old) are usually introduced by their breast size. It's not uncommon for male writers to introduce female characters this way, but when most of them are children, it can be very off putting for readers. One scene, King makes Ellis notice that Kalisha has 'her hands on her mostly nonexistent hips,' then writes about the character Helen in the same scene: " Another door opened and Helen Simms appeared, clad - - - sort of - - - in what Luke believed were called babydoll pajamas. She had hips, plus other interesting equipment. " Both of these characters are only twelve-years-old.
Aside from the children, King also introduces an important character named Tim Jamieson. This character starts the novel off before readers meet Ellis; we learn that he is a former cop who is traveling to New York while taking odd jobs on his way there, including a night knocker job in DuPray, South Carolina (which becomes very important later on in the story) .
Avery, my personal favorite character in the book, is a ten-year-old who acts like a five-year-old, " The screamer was a little boy in Star Wars pajamas, hammering on doors with small fists that went up and down like pistons. Ten? Avery Dixon looked six, seven at most. The crotch and one leg of his pajama pants were wet and sticking to him. " Dixon and Kalisha are both in the Institute for telepathy. " 'You know so,' Kalisha said, and began to stroke the little boy's [Dixon] hair again. Like had a sense - - - maybe bullshit, maybe not - - - that a lot was going on between them. Inside traffic. " And quickly, the group of children become protective of Dixon, " 'But you need to take care of this one for as long as you can. When I think of Tony or Zeke or that bitch Winona hitting Avery, it makes me want to cry. ' " Kalisha confides in Ellis.
Kalisha, one of the other children that has been kidnapped, is another very likable character that seems to keep all of the other kids' spirits up by either keeping them out of trouble with advice or stopping small fights between them. Another kid named Nicky, the troublemaker of the group, is the stereo-typical bad boy. He gets involved in fistfights with the orderlies that work at the Institute, taking quite a bit of abuse in return. But eventually, the rebelliousness catches up with him, leading him to be moved from Front Half to the dreaded Back Half.
Readers later learn that Back Half is worse than Front Half. Most questions we may have about why the Institute is abusing these children are all answered when readers get to see into Back Half from Kalisha's point-of-view. But what is left unanswered is exactly how many children have been through the Institute? From the amount of children seen just in this story, the numbers could be in the hundreds of thousands!
But, as expected, the children come up with a plan to escape - - - with giving as little detail as possible, an orderlie at the Institute is helped by one of the children with a personal problem, and in return, this orderlie decides to help one of them escape and reveal everything that is the Institute. The instance the escape starts being discussed is when the book really picks up.
King's writing of the abuse our characters sustain is very real (" When Stevie Whipple asked where he'd been and what was wrong, Luke just shook his head. He didn't want to talk about the tank. Not now, not ever. He supposed it was like being in a war. You got drafted, you went, but you didn't want to talk about what you'd seen, or what had happened to you there." ) The scene in which Ellis refuses to speak of is where the orderlie Zeke is trying to make Ellis confess that he is not only telekinesis, but also telepathic: "Zeke hauled him up by the hair. His white tunic was soaked. He looked fixedly at Luke. 'I'm going to put you down again, Luke. Again and again and again. I'll put you down until you drown and then we'll resuscitate you and drown you again and resuscitate you again. Last chance: what number am I thinking of?' "
King brings up a fictional belief that strikes fear in parents everywhere: children being kidnapped for government experiments. Readers witness Ellis' parents being killed, Kalisha being a surrogate mother to kids she barely knows, Nicky being beaten by adults when he refuses to get 'shots for dots,' night terrors, suicide, zap sticks and murder.
This book doesn't read like a regular King book; even with the paranormal aspects occurring in it, it doesn't add up to much. The horror aspect is more in the form of child abuse then paranormal moments. I would only recommend this book to fans of Netflix's 'Stranger Things' and Patterson's 'Maximum Ride.' I don't think I would read this again.
Bob Mann (459 KP) rated Rogue One: A Star Wars Story (2016) in Movies
Sep 29, 2021
Putting the “Wars” back into “Star Wars”.
Expectations have been sky-high for this first in the ‘add-in’ series of Star Wars films. But with director Gareth Edwards at the helm, whose past movie track-record includes just the low-budget “Monsters” and the less than memorable “Godzilla“, I was frankly concerned.
But the English guy (with the Welsh name) has seriously delivered!
“Rogue One” (I have omitted the inane and irritating suffix “: A Star Wars Story”) tells the story behind the story of the original Episode IV: “A New Hope”. Felicity Jones (“The Theory of Everything“) plays Jyn Erso, daughter to Imperial weapons expert Mads Mikkelsen (“Doctor Strange“, “Casino Royale”). An interrupted childhood leads the delinquent Jyn on a personal journey to become a leader in the fragmenting Rebel Alliance, as a small band of heroes battle to obtain the plans for the Empire’s planet-zapping Death Star. Will they succeed (this is hardly a question worth asking given the start of Episode IV!) and at what cost?
I’m throwing it out there…. this is the best Star Wars film since “The Empire Strikes Back”. The story (John Knoll and Gary Whitta) is almost Shakespearean in its scope, leading to a moving and memorable finale. As a standalone episode within the Star Wars canon – chronologically positioned as it between “Star Wars Episode III: Revenge of the Sith” and “Star Wars Episode IV: A New Hope” – the film marvellously knits the two together bringing in cameos from Episode III as well as (very surprising) cameos from Episode IV, now nearly 40 years old. The screenplay (by Chris “About a Boy” Weitz and Tony Gilroy, writer of the “Bourne” films) is whip-smart with great lines.
For Star Wars fans the film is also chock full of ‘Easter Eggs’ from the original Star Wars. All of these are great fun but – frankly – some don’t make a lot of sense: for example, a chance encounter with a character in the streets of Jedha City doesn’t gel with what happens an hour or two later.
After Rey in last December’s “Star Wars: The Force Awakens” we again see another kick-ass heroine and a further cinematic nod towards girl-power in the movies. But this is a nuanced heroine with more than a hint of darkness about her. Felicity Jones plays her perfectly, reflecting her transition from teenage rebel to rebel-leading teen.
In general, the darkness continues throughout the supporting cast with some of the heroes – notably the impressive Diego Luna (“The Terminal”) as Cassian Andor – managing to do some very anti-heroic things at points in the story. The rest of the cast, and especially Donnie Yen and Wen Jiang as dynamic martial arts duo Chirrut Îmwe and Baze Malbus, generate the warm fuzzies enough for you – as the audience – to really care for what happens to them. This even extends to the lump of metal in the frame – the droid K-2SO (voiced by Alan Tudyk) – who could be the film’s Jar Jar Binks but manages instead to steal the best comic lines in the film.
Elsewhere Forest Whitaker (“Arrival“) is underused as rebel guerilla Saw Gerrera; Mads Mikkelsen adds gravitas to a key strategic role; and Ben Mendelsohn makes for a memorable Imperial villain. The only slightly irritating character in an otherwise stellar ensemble cast is pilot Rodhi Rook (played by Riz Ahmed from “Jason Bourne“): more for the rather pointless way his character is written than for the Londoner’s portrayal per se.
An equal member of the cast is the sublime music of Michael Giacchino, having the unenviable task of following John Williams into the Star Wars franchise. But he does a great job. After the shock of the non-traditional opening (and an abrupt and rather out of place Title shot) the style settles down, with some of the swelling music in the closing reel adding tremendously to the emotion of the finale.
The film is not quite perfect though. The first half of the film could have moved on a bit quicker to get to the breathtaking finale. And even though CGI has moved on significantly from the stick men and women walking around on the deck in “Titanic” in 1997, the state of the art (no spoilers, but you’ll know what I mean if you’ve seen the film) still has room for some improvement. (Perhaps the first of these scenes could have been as subliminal as the last for better effect).
An outstanding effort, and one I definitely want to watch again. The Bluray version will also be a ‘must-buy’ when it emerges, since – with 4 to 5 weeks of re-shoots done in the summer, and many scenes in the trailer not appearing in the final cut – there must be an enormous number of deleted (original?) scenes that may tell a very different story from the one we saw this week.
Disney must be so, so pleased at their very expensive investment in Star Wars, and fears that the Mouse would trash the brand seem to be – thankfully – unfounded.
But the English guy (with the Welsh name) has seriously delivered!
“Rogue One” (I have omitted the inane and irritating suffix “: A Star Wars Story”) tells the story behind the story of the original Episode IV: “A New Hope”. Felicity Jones (“The Theory of Everything“) plays Jyn Erso, daughter to Imperial weapons expert Mads Mikkelsen (“Doctor Strange“, “Casino Royale”). An interrupted childhood leads the delinquent Jyn on a personal journey to become a leader in the fragmenting Rebel Alliance, as a small band of heroes battle to obtain the plans for the Empire’s planet-zapping Death Star. Will they succeed (this is hardly a question worth asking given the start of Episode IV!) and at what cost?
I’m throwing it out there…. this is the best Star Wars film since “The Empire Strikes Back”. The story (John Knoll and Gary Whitta) is almost Shakespearean in its scope, leading to a moving and memorable finale. As a standalone episode within the Star Wars canon – chronologically positioned as it between “Star Wars Episode III: Revenge of the Sith” and “Star Wars Episode IV: A New Hope” – the film marvellously knits the two together bringing in cameos from Episode III as well as (very surprising) cameos from Episode IV, now nearly 40 years old. The screenplay (by Chris “About a Boy” Weitz and Tony Gilroy, writer of the “Bourne” films) is whip-smart with great lines.
For Star Wars fans the film is also chock full of ‘Easter Eggs’ from the original Star Wars. All of these are great fun but – frankly – some don’t make a lot of sense: for example, a chance encounter with a character in the streets of Jedha City doesn’t gel with what happens an hour or two later.
After Rey in last December’s “Star Wars: The Force Awakens” we again see another kick-ass heroine and a further cinematic nod towards girl-power in the movies. But this is a nuanced heroine with more than a hint of darkness about her. Felicity Jones plays her perfectly, reflecting her transition from teenage rebel to rebel-leading teen.
In general, the darkness continues throughout the supporting cast with some of the heroes – notably the impressive Diego Luna (“The Terminal”) as Cassian Andor – managing to do some very anti-heroic things at points in the story. The rest of the cast, and especially Donnie Yen and Wen Jiang as dynamic martial arts duo Chirrut Îmwe and Baze Malbus, generate the warm fuzzies enough for you – as the audience – to really care for what happens to them. This even extends to the lump of metal in the frame – the droid K-2SO (voiced by Alan Tudyk) – who could be the film’s Jar Jar Binks but manages instead to steal the best comic lines in the film.
Elsewhere Forest Whitaker (“Arrival“) is underused as rebel guerilla Saw Gerrera; Mads Mikkelsen adds gravitas to a key strategic role; and Ben Mendelsohn makes for a memorable Imperial villain. The only slightly irritating character in an otherwise stellar ensemble cast is pilot Rodhi Rook (played by Riz Ahmed from “Jason Bourne“): more for the rather pointless way his character is written than for the Londoner’s portrayal per se.
An equal member of the cast is the sublime music of Michael Giacchino, having the unenviable task of following John Williams into the Star Wars franchise. But he does a great job. After the shock of the non-traditional opening (and an abrupt and rather out of place Title shot) the style settles down, with some of the swelling music in the closing reel adding tremendously to the emotion of the finale.
The film is not quite perfect though. The first half of the film could have moved on a bit quicker to get to the breathtaking finale. And even though CGI has moved on significantly from the stick men and women walking around on the deck in “Titanic” in 1997, the state of the art (no spoilers, but you’ll know what I mean if you’ve seen the film) still has room for some improvement. (Perhaps the first of these scenes could have been as subliminal as the last for better effect).
An outstanding effort, and one I definitely want to watch again. The Bluray version will also be a ‘must-buy’ when it emerges, since – with 4 to 5 weeks of re-shoots done in the summer, and many scenes in the trailer not appearing in the final cut – there must be an enormous number of deleted (original?) scenes that may tell a very different story from the one we saw this week.
Disney must be so, so pleased at their very expensive investment in Star Wars, and fears that the Mouse would trash the brand seem to be – thankfully – unfounded.
Lee (2222 KP) Jun 20, 2019