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BankofMarquis (1832 KP) rated Hustlers (2019) in Movies
Sep 19, 2019
Bland and boring DESPITE J-Lo's performance
When I first saw the trailer for the Jennifer Lopez "strippers get back at scummy Wall Street-types" film, HUSTLERS, I wasn't at all interested in seeing it But then I got wind of strong early reviews with some (very faint) Oscar talk about J-Lo's performance in this film, so I thought I'd check it out.
I should have trusted my instincts.
What a lame disappointment this film is. It starts out flat and then flattens out even further to produce a movie that starts at one (fairly low) level and then stays there the entire time.
HUSTLERS stars Constance Wu (CRAZY, RICH ASIANS) as a a young stripper who is taught the ropes of the stripping game by uber-stripper Jennifer Lopez (if you don't know who this is, then go ahead and skip to the rating of this film at the bottom of this review and move on). When J-Lo's character, Ramona, comes up with an idea to get back at the scummy Wall Street types AND make some money along the way, Wu's character, Destiny (of course) is a reluctant participant becoming - over time - the leader.
A potentially interesting, "based on True Events" story (this film is based on the real life exploits of Ramona as described in a New York Magazine story), this film just falls flat and I put the blame for this in 2 places.
Lets start with Director and Writer of the screenplay, Lorene Scafaria (SEEKING A FRIEND AT THE END OF THE WORLD). She wrote - and directed - this film like it is a modest-scaled, low-key independent film (much like the very good SEEKING A FRIEND...), but the second that this film cast Jennifer Lopez as the flashy leader Ramona, words like modest and low-key should have been thrown out the window but Scafaria chose not to do this, she downplays the best asset in her movie and plunks most of her effort on a lead who could not match Lopez star power wattage.
And that lead is Constance Wu - the other weak link in this chain. I thought she was "just fine" in CRAZY RICH ASIANS, blending into the scenery when more flamboyant personalities were on the screen (in CRA it was Michelle Yeoh's "tiger mom") and she blends into the scenery whenever J-Lo is on the screen in this film - and that just doesn't work here. She needed to step up and step out and match J-Lo blow for blow, but she backs up and backs away in these crucial moments, so when her character is on the screen alone - trying to get the audience's sympathies - I just didn't care.
What I did care about is Jennifer Lopez's performance as Ramona. She is the brightest spot in this film and brings her star power and natural charisma to the screen. The ultimate problem with this performance (and NO, it is NOT Oscar-worthy) is it feels that she is fighting the "low-key" headwinds of writer/director Scafaria the entire time.
Former Disney star Keke Palmer and current RIVERDALE star Lili Reinhart bring some fun and energy to the screen as the 3rd and 4th partners in this quartet of stripper Robin Hoods, but they are all too often sentenced to strut around in the background in tight outfits. I would have loved to see a movie with Lopez, Palmer and Reinhart that was more "out there" and less restrained.
Finally, two very good actresses - Julia Styles and Mercedes Ruehl - are in this film in "what-the-heck-are they-doing-in-this-film" roles that are underwritten and underutilized the talents of these actresses - another missed opportunity by Writer/Director Scafaria.
I've heard this film called a "female empowerment" film or "the stripper version of Goodfellas" and I couldn't disagree more. The only "empowering" part of this film is when the credits rolled and I could leave.
Letter Grade: C
4 stars (out of 10) and you can take that to the Bank(OfMarquis)
I should have trusted my instincts.
What a lame disappointment this film is. It starts out flat and then flattens out even further to produce a movie that starts at one (fairly low) level and then stays there the entire time.
HUSTLERS stars Constance Wu (CRAZY, RICH ASIANS) as a a young stripper who is taught the ropes of the stripping game by uber-stripper Jennifer Lopez (if you don't know who this is, then go ahead and skip to the rating of this film at the bottom of this review and move on). When J-Lo's character, Ramona, comes up with an idea to get back at the scummy Wall Street types AND make some money along the way, Wu's character, Destiny (of course) is a reluctant participant becoming - over time - the leader.
A potentially interesting, "based on True Events" story (this film is based on the real life exploits of Ramona as described in a New York Magazine story), this film just falls flat and I put the blame for this in 2 places.
Lets start with Director and Writer of the screenplay, Lorene Scafaria (SEEKING A FRIEND AT THE END OF THE WORLD). She wrote - and directed - this film like it is a modest-scaled, low-key independent film (much like the very good SEEKING A FRIEND...), but the second that this film cast Jennifer Lopez as the flashy leader Ramona, words like modest and low-key should have been thrown out the window but Scafaria chose not to do this, she downplays the best asset in her movie and plunks most of her effort on a lead who could not match Lopez star power wattage.
And that lead is Constance Wu - the other weak link in this chain. I thought she was "just fine" in CRAZY RICH ASIANS, blending into the scenery when more flamboyant personalities were on the screen (in CRA it was Michelle Yeoh's "tiger mom") and she blends into the scenery whenever J-Lo is on the screen in this film - and that just doesn't work here. She needed to step up and step out and match J-Lo blow for blow, but she backs up and backs away in these crucial moments, so when her character is on the screen alone - trying to get the audience's sympathies - I just didn't care.
What I did care about is Jennifer Lopez's performance as Ramona. She is the brightest spot in this film and brings her star power and natural charisma to the screen. The ultimate problem with this performance (and NO, it is NOT Oscar-worthy) is it feels that she is fighting the "low-key" headwinds of writer/director Scafaria the entire time.
Former Disney star Keke Palmer and current RIVERDALE star Lili Reinhart bring some fun and energy to the screen as the 3rd and 4th partners in this quartet of stripper Robin Hoods, but they are all too often sentenced to strut around in the background in tight outfits. I would have loved to see a movie with Lopez, Palmer and Reinhart that was more "out there" and less restrained.
Finally, two very good actresses - Julia Styles and Mercedes Ruehl - are in this film in "what-the-heck-are they-doing-in-this-film" roles that are underwritten and underutilized the talents of these actresses - another missed opportunity by Writer/Director Scafaria.
I've heard this film called a "female empowerment" film or "the stripper version of Goodfellas" and I couldn't disagree more. The only "empowering" part of this film is when the credits rolled and I could leave.
Letter Grade: C
4 stars (out of 10) and you can take that to the Bank(OfMarquis)
Darren (1599 KP) rated Scary Stories to Tell in the Dark (2019) in Movies
Aug 24, 2019
Verdict: Goosebumps With Pure Horror
Story: Scary Stories to Tell in the Dark starts with the backdrop of the Richard Nixon election, where high school students Stella (Colletti), Auggie (Rush) and Chuck (Zajur) look to get revenge on the school bully, which sees them stumble into stranger’s Ramon (Garza) car on Halloween which sees them head to a haunted house that has the story about the daughter of the family Sarah Bellows, writing scary stories for the local kids that soon went missing.
When Stella finds the story book she starts to investigate the stories, only to see the stories writing themselves with the locals starting to go missing, including her friends, Stella must investigate the myth about Sarah to stop the people she loves going missing.
Thoughts on Scary Stories to Tell in the Dark
Characters – Stella is an outsider at her school, she has always struggled with the people talking about her mother that disappeared, she is known for writing stories and enjoys a horror film, she wants to investigate the haunted house and is fascinated by what she finds, even though she must do anything to protect her friends once she learns the evil involved. Most of this film Stella feels like a young Velma from Scooby Doo too, which can be hard to shake without realizing. Ramon Morales is a stranger in town, the police don’t take to him too kindly, but Stella sees him as a nice guy, it is slightly confusing trying to figure out how old he is and why he is hanging out with the high schoolers, but he does have a reason to be on the run. Auggie and Chuck are the two banter filled friends of Stella that do make the smart decisions when it comes to dealing with horror moments. Roy Nicholls is the father of Stella that has been struggling with his wife’s disappearance, which has seen him become distant from Stella too.
Performances – Zoe Margaret Colletti is great in the leading role, we see her give us a vulnerable, but strong character that needs to break out of her shell. Michael Garza is strong through the film, playing the mysterious stranger, needing to keep a lot of his secrets close to his chest. Gabriel Rush and Austin Zajur have great chemistry and the friends, while Dean Norris doesn’t do anything wrong, but does feel wasted at times.
Story – The story here follows a group of teenagers that find a book that tells scary stories that come true with horrifying outcomes and they must figure out how to break the curse placed upon them. This does feel like a much darker version of a Goosebumps set of stories, with each horror figure being terrifying in their own right, which will lead to an event that you don’t see coming. We do have the investigation side of the film which does answer the questions about what is going on and why, which as always is entertaining to watch in a horror and with everything adding up nicely we will be left with a story that flows smoothly throughout.
Horror/Mystery – The horror in the film comes from the different creations of horror, for the most part the trailer does show us each of the creations involved in the film, the mystery plays into why the horror events are happening and just what Sarah is making this happen.
Settings – The film is set in a small town, where everybody knows everyone, which does play into the idea that the stories around the town can destroy reputations and feelings.
Special Effects – The effects in the film are used to make the horror creatures seem more terrifying where they look like practical effects too, which is a delight to see.
Scene of the Movie – Chuck’s visit.
That Moment That Annoyed Me – The trailer gives away all of the horror figures.
Final Thoughts – This is a fun horror film that is filled with scary figures that will fill you with dread as they are original creations and will surprise with what happens to the characters.
Overall: Fun Dark Horror.
Story: Scary Stories to Tell in the Dark starts with the backdrop of the Richard Nixon election, where high school students Stella (Colletti), Auggie (Rush) and Chuck (Zajur) look to get revenge on the school bully, which sees them stumble into stranger’s Ramon (Garza) car on Halloween which sees them head to a haunted house that has the story about the daughter of the family Sarah Bellows, writing scary stories for the local kids that soon went missing.
When Stella finds the story book she starts to investigate the stories, only to see the stories writing themselves with the locals starting to go missing, including her friends, Stella must investigate the myth about Sarah to stop the people she loves going missing.
Thoughts on Scary Stories to Tell in the Dark
Characters – Stella is an outsider at her school, she has always struggled with the people talking about her mother that disappeared, she is known for writing stories and enjoys a horror film, she wants to investigate the haunted house and is fascinated by what she finds, even though she must do anything to protect her friends once she learns the evil involved. Most of this film Stella feels like a young Velma from Scooby Doo too, which can be hard to shake without realizing. Ramon Morales is a stranger in town, the police don’t take to him too kindly, but Stella sees him as a nice guy, it is slightly confusing trying to figure out how old he is and why he is hanging out with the high schoolers, but he does have a reason to be on the run. Auggie and Chuck are the two banter filled friends of Stella that do make the smart decisions when it comes to dealing with horror moments. Roy Nicholls is the father of Stella that has been struggling with his wife’s disappearance, which has seen him become distant from Stella too.
Performances – Zoe Margaret Colletti is great in the leading role, we see her give us a vulnerable, but strong character that needs to break out of her shell. Michael Garza is strong through the film, playing the mysterious stranger, needing to keep a lot of his secrets close to his chest. Gabriel Rush and Austin Zajur have great chemistry and the friends, while Dean Norris doesn’t do anything wrong, but does feel wasted at times.
Story – The story here follows a group of teenagers that find a book that tells scary stories that come true with horrifying outcomes and they must figure out how to break the curse placed upon them. This does feel like a much darker version of a Goosebumps set of stories, with each horror figure being terrifying in their own right, which will lead to an event that you don’t see coming. We do have the investigation side of the film which does answer the questions about what is going on and why, which as always is entertaining to watch in a horror and with everything adding up nicely we will be left with a story that flows smoothly throughout.
Horror/Mystery – The horror in the film comes from the different creations of horror, for the most part the trailer does show us each of the creations involved in the film, the mystery plays into why the horror events are happening and just what Sarah is making this happen.
Settings – The film is set in a small town, where everybody knows everyone, which does play into the idea that the stories around the town can destroy reputations and feelings.
Special Effects – The effects in the film are used to make the horror creatures seem more terrifying where they look like practical effects too, which is a delight to see.
Scene of the Movie – Chuck’s visit.
That Moment That Annoyed Me – The trailer gives away all of the horror figures.
Final Thoughts – This is a fun horror film that is filled with scary figures that will fill you with dread as they are original creations and will surprise with what happens to the characters.
Overall: Fun Dark Horror.
Bob Mann (459 KP) rated Bad Boys for Life (2020) in Movies
Mar 9, 2020
Welcome to Miami - again!
Will Smith seems to have been having a lacklustre period in his career. His genie from "Aladdin" got a rather lukewarm reception. And his last movie - "Gemini Man" - billed as a big summer blockbuster - failed to impress. True it wasn't a commercial disaster (raking in at the time of writing about 150% of budget), but it's still a film on a plane for me that, even if I'm bored, I'll say "nah" to.
Perhaps it's for this reason that Smith reached for an old and reliable property to dust off for another outing.
And, do you know, it's not half bad.
I only recently saw this one, right at the end of its UK cinema run, because frankly it appealed to me like being hit round the head with a cold fish. Martin Lawrence is an actor who just grates on me enormously. I'm sure he's a lovely chap; kind to animals; donates to charity; etc - but I generally just don't find him funny. (Here though he has a killer line about condom use that made me chuckle.) It feels to me like he is on implausible ground here re-treading the role of aging detective Marcus Burnett. One look at Burnett lumbering along and you would think "well, he'd never pass the medical" for the on-street role he's portrayed doing. His buddy is detective Mike Lowrey (Will Smith), who has a sordid past that is set to catch up on him.
Since we start the story in Colombia, where Isabel Aretas (Kate Del Castillo), the witchy wife of a notorious deceased drug baron, is sprung from prison by her son Armando (Jacob Scipio) in what I admit is a clever and novel way. The Aretas family is bent on revenge - - and a key target in their sites is Lowrey.
Burnett is newly a grandparent and hell-bent on retirement. But with Lowrey and his associates with a target on their backs, will there be one last chance to "Ride Together, Die Together"?
Not seen the first two movies? Not to worry! There are movies, like LOTR, where if you've missed the first two movies in the series you will be left in serious "WTF" territory in trying to watch the third. This is not one of those movies. The story is entirely self-contained, and refers to events never seen prior to the first film in the series.
But whether the movie is for you will depend on your tolerance for loud and brash visuals and music with the knob turned up to 12. Directors Adil and Bilall (Adil El Arbi and Bilall Fallah - Belgian film school buddies best known for the critically acclaimed 2015 feature "Black") - don't do anything by halves.
There is a scene in "Lost Series 3" in which Sawyer, Kate, and Alex have to bust young Karl out of the mysterious room 23 where he is being tortured by having his eyes kept open while watching a collage of images continually smashed into his eyeballs. This movie feels a little like that after a while.
This is not by any means a criticism that it's poorly done. There is some truly stunning cinematography of the Miami skyline by Belgian cinematographer Robrecht Heyvaert, including a 'pull-back' drone shot from a conversation on the top of a building that is quite AWESOME! And there are more than enough "fast action - then slo-mo - then fast again" shots to keep music-video junkies happy!
The music score by Lorne Balfe is also pumping, adding a dynamism to the frantic action scenes that keeps you entertained.
The screenplay by Chris Bremner, Peter Craig and Joe Carnahan is assuredly familiar: it's not going to win any prizes for originality. We've seen the cartel/revenge plotline played out in multiple movies over the years. And we've also seen the "buddy cops with aging partner taking retirement" angle from the "Lethal Weapon" series. This just sticks them together.
Will Smith and Martin Lawrence wise-crack their way through the comedy well-enough, though for me it never reaches the heights of the pairing of Smith and Tommy Lee Jones from MiB (or indeed Mel Gibson and Danny Glover from Lethal Weapon). Elsewhere we have Vanessa Hudgens as a cute cop, still trying to break through from "Disneyfication" into mainstream flicks. For one horrible moment, when I saw her name on the cast, I thought she might be the love interest to Smith. But no. That honour goes to Mexican beauty Paola Nuñez who, with only a 10 year age gap, becomes a less gag-worthy pairing. She plays a female leadership role (every 20's film now needs one) as the head of a new crime division.
Also good value is Joe Pantoliano reprising his role as Captain Howard - Lowrie's exasperated boss. Playing it by the numbers, every film like this has to have one!
Where the plot does add some interest is in a surprising scene mid-film and a twist that I didn't see coming. But this twist felt - in the context of the release date or the film - like a mistake (a "Spoiler Section" in my review on the One Mann's Movies web site discusses this).
All of this happens of course against a backdrop of a body count of bad guys being killed in ever more graphic and gory ways, while the good guys generally dodge every bullet, grenade and crashing helicopter heading their way.
It's that time of year when films are released to die. Where studios drop their movies that are never going to trouble the Academy and are not deemed worthy of summer or even late spring release. But they should have had more faith in this one, for it's not half bad. True, you may need a couple of paracetamols afterwards, but if your corneas and ear-drums can stand the pace, its not short on entertainment value.
(For the full graphical review, check out the One Mann's Movies link here - https://bob-the-movie-man.com/2020/03/08/one-manns-movies-film-review-bad-boys-for-life-2020/ ).
Perhaps it's for this reason that Smith reached for an old and reliable property to dust off for another outing.
And, do you know, it's not half bad.
I only recently saw this one, right at the end of its UK cinema run, because frankly it appealed to me like being hit round the head with a cold fish. Martin Lawrence is an actor who just grates on me enormously. I'm sure he's a lovely chap; kind to animals; donates to charity; etc - but I generally just don't find him funny. (Here though he has a killer line about condom use that made me chuckle.) It feels to me like he is on implausible ground here re-treading the role of aging detective Marcus Burnett. One look at Burnett lumbering along and you would think "well, he'd never pass the medical" for the on-street role he's portrayed doing. His buddy is detective Mike Lowrey (Will Smith), who has a sordid past that is set to catch up on him.
Since we start the story in Colombia, where Isabel Aretas (Kate Del Castillo), the witchy wife of a notorious deceased drug baron, is sprung from prison by her son Armando (Jacob Scipio) in what I admit is a clever and novel way. The Aretas family is bent on revenge - - and a key target in their sites is Lowrey.
Burnett is newly a grandparent and hell-bent on retirement. But with Lowrey and his associates with a target on their backs, will there be one last chance to "Ride Together, Die Together"?
Not seen the first two movies? Not to worry! There are movies, like LOTR, where if you've missed the first two movies in the series you will be left in serious "WTF" territory in trying to watch the third. This is not one of those movies. The story is entirely self-contained, and refers to events never seen prior to the first film in the series.
But whether the movie is for you will depend on your tolerance for loud and brash visuals and music with the knob turned up to 12. Directors Adil and Bilall (Adil El Arbi and Bilall Fallah - Belgian film school buddies best known for the critically acclaimed 2015 feature "Black") - don't do anything by halves.
There is a scene in "Lost Series 3" in which Sawyer, Kate, and Alex have to bust young Karl out of the mysterious room 23 where he is being tortured by having his eyes kept open while watching a collage of images continually smashed into his eyeballs. This movie feels a little like that after a while.
This is not by any means a criticism that it's poorly done. There is some truly stunning cinematography of the Miami skyline by Belgian cinematographer Robrecht Heyvaert, including a 'pull-back' drone shot from a conversation on the top of a building that is quite AWESOME! And there are more than enough "fast action - then slo-mo - then fast again" shots to keep music-video junkies happy!
The music score by Lorne Balfe is also pumping, adding a dynamism to the frantic action scenes that keeps you entertained.
The screenplay by Chris Bremner, Peter Craig and Joe Carnahan is assuredly familiar: it's not going to win any prizes for originality. We've seen the cartel/revenge plotline played out in multiple movies over the years. And we've also seen the "buddy cops with aging partner taking retirement" angle from the "Lethal Weapon" series. This just sticks them together.
Will Smith and Martin Lawrence wise-crack their way through the comedy well-enough, though for me it never reaches the heights of the pairing of Smith and Tommy Lee Jones from MiB (or indeed Mel Gibson and Danny Glover from Lethal Weapon). Elsewhere we have Vanessa Hudgens as a cute cop, still trying to break through from "Disneyfication" into mainstream flicks. For one horrible moment, when I saw her name on the cast, I thought she might be the love interest to Smith. But no. That honour goes to Mexican beauty Paola Nuñez who, with only a 10 year age gap, becomes a less gag-worthy pairing. She plays a female leadership role (every 20's film now needs one) as the head of a new crime division.
Also good value is Joe Pantoliano reprising his role as Captain Howard - Lowrie's exasperated boss. Playing it by the numbers, every film like this has to have one!
Where the plot does add some interest is in a surprising scene mid-film and a twist that I didn't see coming. But this twist felt - in the context of the release date or the film - like a mistake (a "Spoiler Section" in my review on the One Mann's Movies web site discusses this).
All of this happens of course against a backdrop of a body count of bad guys being killed in ever more graphic and gory ways, while the good guys generally dodge every bullet, grenade and crashing helicopter heading their way.
It's that time of year when films are released to die. Where studios drop their movies that are never going to trouble the Academy and are not deemed worthy of summer or even late spring release. But they should have had more faith in this one, for it's not half bad. True, you may need a couple of paracetamols afterwards, but if your corneas and ear-drums can stand the pace, its not short on entertainment value.
(For the full graphical review, check out the One Mann's Movies link here - https://bob-the-movie-man.com/2020/03/08/one-manns-movies-film-review-bad-boys-for-life-2020/ ).
Bob Mann (459 KP) rated Darkest Hour (2017) in Movies
Sep 29, 2021
Not buggering it up.
As Doctor Who repeatedly points out, time is most definitely a tricksy thing. As I think I’ve commented on before, the events of 1940-45 are not in my lifetime but were sufficiently fresh to my parents that they were still actively talked about… so they still appear “current” to me. But I find it astonishing to realize that to a teen viewer this film is equivalent in timeframe to the sinking of the Titanic! #ancienthistory! So I suspect your connection to this film will be strongly affected by your age, and that was definitely reflected in the average age at my showing which must have been at least 60.
It’s 1940 and Western Europe is under siege. Neville Chamberlain (Ronald Pickup, “The Second Best Exotic Marigold Hotel“) is the Conservative Prime Minister but is voted out of office in an attempt to form a grand coalition government with Labour leader Clement Atlee (David Schofield). Despite appearing a shoe-in for the role, Viscount Halifax (Stephen Dillane) turns it down, thinking that his alternative (and bête noire) would drink from the poisoned chalice and be quickly be out of his (and Chamberlain’s) hair. For that alternative choice is the volatile and unpredictable Churchill (Gary Oldman), grudgingly invited into the job by King George VI (Ben Mendelsohn, “Rogue One“). With the Nazi’s bearing down on the 300,000 encircled troops at Dunkirk, and with calls from his war cabinet to capitulate and seek terms of settlement, this is indeed both Churchill’s, and the country’s, ‘darkest hour’.
Despite the woeful lack of historical knowledge among today’s youngsters, most will be at least aware of the story of Dunkirk, with many having absorbed Christopher Nolan’s film of last summer. This film is almost the matching bookend to that film, showing the terrifying behind-closed-door events that led up to that miracle. For it was terrifying seeing how close Britain came to the brink, and I’m not sure even I really appreciated that before. While this might have been a “thriller” if it had been a fictional story, we well know the outcome of the story: but even with this knowledge I still found the film to be extremely tense and claustrophobic as the net draws in around Churchill’s firmly-held beliefs.
Gary Oldman’s performance is extraordinary, and his award nominations are well-deserved. We have grown so used to some of his more over-the-top Russian portrayals in films like “Air Force One” and last year’s (pretty poor) “The Hitman’s Bodyguard” that it is easy to forget what a nuanced and flexible actor he is. Ever since that “No, surely not!” moment of that first glimpse of the film’s trailer, it has almost been impossible to ‘see’ Oldman behind the brilliant make-up of the character (Kazuhiro Tsuji gets a special credit for it). But his eyes are in there, and there are some extreme close-ups (for example, during a bizarre and tense phone call with Roosevelt (David Strathairn)) when you suddenly see “There you are!”.
The supportive wife – Clemmie (Kristin Scott Thomas) gives Winston (Gary Oldman) a hug.
While I have nothing against Brian Cox as an actor, I far prefer the portrayal of Churchill on show here compared to last year’s “Churchill“: true that that film was set three or four stressful years later, but Cox’s Churchill was portrayed as an incompetent fool, an embarrassment to the establishment that have to work around him. Oldman’s Churchill is irascible, unreasonable, but undeniably a leader and a great orator.
Mirroring “Churchill” though, the action is seen through the eyes of Churchill’s put-upon secretary, here played delightfully by Lily James (“Downton Abbey”, “Baby Driver“) who perfectly looks and sounds the part. The character is more successful than that of Ella Purnell’s Garrett in that she is given more room to develop her character and for the audience to warm to her. Oldman is getting all the kudos, but Lily James really deserves some for her touching and engaging performance here.
Perfectly cast: Lily James as Churchill’s secretary Elizabeth Layton.
Also in Oldman’s shadow is the always marvelous Kristin Scott Thomas (“Four Weddings and a Funeral”, “The English Patient”) as Clemmie Churchill, expressing all the love and frustration associated with being a long-suffering wife to an over-worked husband in the public service.
At the pen is “The Theory of Everything” writer Anthony McCarten, and I’d like to say its a great script but with most of the best lines (“a sheep in sheep’s clothing” – LoL) coming from Winston himself it’s difficult to tell. Some of the scenes can get a bit laborious and at 125 minutes – though not long by any means – the script could still perhaps have had a nip and tuck here and there.
Where some of this time is well spent though is in some sedate shots of London street life, across two separate scenes panning across everyday folk as the stresses of war start to become more evident. This is just one of the areas where director Joe Wright (“Atonement”, “Pride and Prejudice”) shows considerable panache, ably assisted by the cinematography of Bruno Delbonnel (“Inside Llewyn Davis“): a boy closes his telescope-fingers around Churchill’s plane; a bomb’s eye-view of the beleaguered Brigadier Nicholson in Calais; and – very impressively – the smoky imperiousness of the House of Commons set.
An atmospheric chamber: the recreation of the wartime House of Commons is spectacular (with production design by Sarah Greenwood (“Anna Karenina”, “Atonement”)).
And most-importantly Wright delivers what Christopher Nolan couldn’t deliver in “Dunkirk“: a properly CGI’d vista of hundred of small boats crossing the channel to Dunkirk. Now THAT is a scene that Kenneth Branagh could justly have looked in awe at!!!
There are a number of scenes that require disbelief to be suspended though: the biggest one being a tube train ride – very moving and effective I must say – but one that features the longest journey between any two stations on the District Line than has ever been experienced!
One stop on the District Line via Westminster…. via Harrow-on-the-Hill!
So this is a great film for really reliving a knife-edge moment in British history, and is highly recommended particularly for older viewers. If I’m honest though, between “Darkest Hour”, “Churchill” and John Lithgow’s excellent portrayal in “The Crown” I’m all over portrayals of the great man for a few years. Can we please move on now Hollywood?
It’s 1940 and Western Europe is under siege. Neville Chamberlain (Ronald Pickup, “The Second Best Exotic Marigold Hotel“) is the Conservative Prime Minister but is voted out of office in an attempt to form a grand coalition government with Labour leader Clement Atlee (David Schofield). Despite appearing a shoe-in for the role, Viscount Halifax (Stephen Dillane) turns it down, thinking that his alternative (and bête noire) would drink from the poisoned chalice and be quickly be out of his (and Chamberlain’s) hair. For that alternative choice is the volatile and unpredictable Churchill (Gary Oldman), grudgingly invited into the job by King George VI (Ben Mendelsohn, “Rogue One“). With the Nazi’s bearing down on the 300,000 encircled troops at Dunkirk, and with calls from his war cabinet to capitulate and seek terms of settlement, this is indeed both Churchill’s, and the country’s, ‘darkest hour’.
Despite the woeful lack of historical knowledge among today’s youngsters, most will be at least aware of the story of Dunkirk, with many having absorbed Christopher Nolan’s film of last summer. This film is almost the matching bookend to that film, showing the terrifying behind-closed-door events that led up to that miracle. For it was terrifying seeing how close Britain came to the brink, and I’m not sure even I really appreciated that before. While this might have been a “thriller” if it had been a fictional story, we well know the outcome of the story: but even with this knowledge I still found the film to be extremely tense and claustrophobic as the net draws in around Churchill’s firmly-held beliefs.
Gary Oldman’s performance is extraordinary, and his award nominations are well-deserved. We have grown so used to some of his more over-the-top Russian portrayals in films like “Air Force One” and last year’s (pretty poor) “The Hitman’s Bodyguard” that it is easy to forget what a nuanced and flexible actor he is. Ever since that “No, surely not!” moment of that first glimpse of the film’s trailer, it has almost been impossible to ‘see’ Oldman behind the brilliant make-up of the character (Kazuhiro Tsuji gets a special credit for it). But his eyes are in there, and there are some extreme close-ups (for example, during a bizarre and tense phone call with Roosevelt (David Strathairn)) when you suddenly see “There you are!”.
The supportive wife – Clemmie (Kristin Scott Thomas) gives Winston (Gary Oldman) a hug.
While I have nothing against Brian Cox as an actor, I far prefer the portrayal of Churchill on show here compared to last year’s “Churchill“: true that that film was set three or four stressful years later, but Cox’s Churchill was portrayed as an incompetent fool, an embarrassment to the establishment that have to work around him. Oldman’s Churchill is irascible, unreasonable, but undeniably a leader and a great orator.
Mirroring “Churchill” though, the action is seen through the eyes of Churchill’s put-upon secretary, here played delightfully by Lily James (“Downton Abbey”, “Baby Driver“) who perfectly looks and sounds the part. The character is more successful than that of Ella Purnell’s Garrett in that she is given more room to develop her character and for the audience to warm to her. Oldman is getting all the kudos, but Lily James really deserves some for her touching and engaging performance here.
Perfectly cast: Lily James as Churchill’s secretary Elizabeth Layton.
Also in Oldman’s shadow is the always marvelous Kristin Scott Thomas (“Four Weddings and a Funeral”, “The English Patient”) as Clemmie Churchill, expressing all the love and frustration associated with being a long-suffering wife to an over-worked husband in the public service.
At the pen is “The Theory of Everything” writer Anthony McCarten, and I’d like to say its a great script but with most of the best lines (“a sheep in sheep’s clothing” – LoL) coming from Winston himself it’s difficult to tell. Some of the scenes can get a bit laborious and at 125 minutes – though not long by any means – the script could still perhaps have had a nip and tuck here and there.
Where some of this time is well spent though is in some sedate shots of London street life, across two separate scenes panning across everyday folk as the stresses of war start to become more evident. This is just one of the areas where director Joe Wright (“Atonement”, “Pride and Prejudice”) shows considerable panache, ably assisted by the cinematography of Bruno Delbonnel (“Inside Llewyn Davis“): a boy closes his telescope-fingers around Churchill’s plane; a bomb’s eye-view of the beleaguered Brigadier Nicholson in Calais; and – very impressively – the smoky imperiousness of the House of Commons set.
An atmospheric chamber: the recreation of the wartime House of Commons is spectacular (with production design by Sarah Greenwood (“Anna Karenina”, “Atonement”)).
And most-importantly Wright delivers what Christopher Nolan couldn’t deliver in “Dunkirk“: a properly CGI’d vista of hundred of small boats crossing the channel to Dunkirk. Now THAT is a scene that Kenneth Branagh could justly have looked in awe at!!!
There are a number of scenes that require disbelief to be suspended though: the biggest one being a tube train ride – very moving and effective I must say – but one that features the longest journey between any two stations on the District Line than has ever been experienced!
One stop on the District Line via Westminster…. via Harrow-on-the-Hill!
So this is a great film for really reliving a knife-edge moment in British history, and is highly recommended particularly for older viewers. If I’m honest though, between “Darkest Hour”, “Churchill” and John Lithgow’s excellent portrayal in “The Crown” I’m all over portrayals of the great man for a few years. Can we please move on now Hollywood?
Gareth von Kallenbach (980 KP) rated the PlayStation 4 version of Tom Clancy's The Division 2 in Video Games
Jun 19, 2019
Following up a hit game is never an easy task. The delicate balance
between keeping things familiar yet not repeating what has come before is
always tricky.
Such is the case facing Ubisoft with Tom Clancy’s The Division 2. I want to point out at the start that Ubisoft in no way helped
with the review process despite doing extensive pre-release coverage for
the game.
As such; there were elements to the game that I had question and issues with and the company would not respond to questions or even recognize the coverage that had been done prior.
The game follows up the events of the first game in that a virus named the
“Dollar Flu” has laid waste to the country after being passed around on
currency during the busy Christmas shopping season.
This time out the game
is set in Washington D.C. and players once again take on the role of a
member of an elite agency called “The Division”.
With the city in chaos and the survivors being tormented by criminal
factions and extreme militants; players must work solo and in groups to
complete various missions and objectives to reclaim the city.
Like the previous game players can customize their character to have a
look, weapons, and accessories that they want and can swap and update them
as they go along.
Playing from a third person perspective, the highly-detailed city is vast
and many points from the White House to the Lincoln Memorial, and
Smithsonian Institute are available to explore and even undertake missions
in.
The enemies are dangerous as the vicious Hyena gang as well as the
Outcasts roam the city. There is also a Military faction called The True
Sons who bring military tactics into their encounters.
Players will be able to gather loot and armor and weapon upgrades as they
go and can even use special power ups to heal, set mines, and other traps
to help even the odds.
Those abilities can be upgraded, swapped, and assigned, and make the game
very interesting as some players opt to have a Drone while others elect
for Turrets or other options.
Weapons can go from pistols, machine guns, shotguns, and sniper rifles,
and players can also use grenades to dispatch large groups.
While working solo is fine, the key to success is working with others and
players can now call for backup to get help in addition to the general
matchmaking and friend invites. There has also been a Clan system added
which is nice as players can create or join a group and have support
available when needed.
This is a great thing as the missions can be challenging as your level
rank rises and players are always outnumbered and outgunned in missions.
I found the game to be very impressive and lots of fun and the ability to
upgrade bases and take on side missions and patrols beyond the core
missions ensures lots of gameplay as was the case with the first game.
There have also been updates which add new content and based on the prior
game, we expect to see lots of new content released in the months ahead.
There were some annoying issues with the sound as some channels would
drop. One example was how voices became muted and how some sounds such as
radio messages utterly vanished. While it was not a deal-breaker; it was
annoying s the updates pre and post mission help give players a great
understanding of the unfolding story.
I did like the fact that the abundance of side missions was curtailed in
favor of more relevant missions and capturing control points and helping
end threats to the general population.
One time I took control of a mounted machine gun and found the sound
locked during firing and continued for several minutes even after I
respawned. I had to go back to the gun and fire it again to get the sound
glitch to stop.
There were also some annoying graphical glitches like textures and enemies
appearing late while I was walking after the last update. With a 2070 GTX
Graphics Card this should not happen and thankfully it seemed to abate
after a few annoying occurrences.
That being said; the game is very solid and enjoyable and it is a shame
that a company that has such great games is very difficult to work with
from the media and support side of things as The Division 2 is a solid
sequel and one of the more enjoyable games I have played in a while.
http://sknr.net/2019/04/08/tom-clancys-the-division-2/
between keeping things familiar yet not repeating what has come before is
always tricky.
Such is the case facing Ubisoft with Tom Clancy’s The Division 2. I want to point out at the start that Ubisoft in no way helped
with the review process despite doing extensive pre-release coverage for
the game.
As such; there were elements to the game that I had question and issues with and the company would not respond to questions or even recognize the coverage that had been done prior.
The game follows up the events of the first game in that a virus named the
“Dollar Flu” has laid waste to the country after being passed around on
currency during the busy Christmas shopping season.
This time out the game
is set in Washington D.C. and players once again take on the role of a
member of an elite agency called “The Division”.
With the city in chaos and the survivors being tormented by criminal
factions and extreme militants; players must work solo and in groups to
complete various missions and objectives to reclaim the city.
Like the previous game players can customize their character to have a
look, weapons, and accessories that they want and can swap and update them
as they go along.
Playing from a third person perspective, the highly-detailed city is vast
and many points from the White House to the Lincoln Memorial, and
Smithsonian Institute are available to explore and even undertake missions
in.
The enemies are dangerous as the vicious Hyena gang as well as the
Outcasts roam the city. There is also a Military faction called The True
Sons who bring military tactics into their encounters.
Players will be able to gather loot and armor and weapon upgrades as they
go and can even use special power ups to heal, set mines, and other traps
to help even the odds.
Those abilities can be upgraded, swapped, and assigned, and make the game
very interesting as some players opt to have a Drone while others elect
for Turrets or other options.
Weapons can go from pistols, machine guns, shotguns, and sniper rifles,
and players can also use grenades to dispatch large groups.
While working solo is fine, the key to success is working with others and
players can now call for backup to get help in addition to the general
matchmaking and friend invites. There has also been a Clan system added
which is nice as players can create or join a group and have support
available when needed.
This is a great thing as the missions can be challenging as your level
rank rises and players are always outnumbered and outgunned in missions.
I found the game to be very impressive and lots of fun and the ability to
upgrade bases and take on side missions and patrols beyond the core
missions ensures lots of gameplay as was the case with the first game.
There have also been updates which add new content and based on the prior
game, we expect to see lots of new content released in the months ahead.
There were some annoying issues with the sound as some channels would
drop. One example was how voices became muted and how some sounds such as
radio messages utterly vanished. While it was not a deal-breaker; it was
annoying s the updates pre and post mission help give players a great
understanding of the unfolding story.
I did like the fact that the abundance of side missions was curtailed in
favor of more relevant missions and capturing control points and helping
end threats to the general population.
One time I took control of a mounted machine gun and found the sound
locked during firing and continued for several minutes even after I
respawned. I had to go back to the gun and fire it again to get the sound
glitch to stop.
There were also some annoying graphical glitches like textures and enemies
appearing late while I was walking after the last update. With a 2070 GTX
Graphics Card this should not happen and thankfully it seemed to abate
after a few annoying occurrences.
That being said; the game is very solid and enjoyable and it is a shame
that a company that has such great games is very difficult to work with
from the media and support side of things as The Division 2 is a solid
sequel and one of the more enjoyable games I have played in a while.
http://sknr.net/2019/04/08/tom-clancys-the-division-2/
Hazel (1853 KP) rated A Step Towards Falling in Books
Dec 14, 2018
Rating: 3.5
<i>This eBook was provided by the publisher via NetGalley in exchange for an honest review
A Step Towards Falling</i> by Cammie McGovern is a book full of important messages. As with a couple of her previous novels, McGovern writes about characters with developmental disabilities, i.e. Autism, focusing on the ways in which they interact with the world around them and vice versa. This particular story is written with teenagers in mind, featuring topics such as dating and future prospects.
One of the narrators Emily, along with high school football player Lucas, are being punished for not helping a disabled student when they witnessed her being assaulted. In order to appease the school they are subjected to forty hours of community service – voluntarily helping to run the Boundaries and Relationships class at the Lifelong Learning Centre. Here they meet a handful of people with disabilities who need help to identify what is and what is not acceptable in potential romantic relationships. Although Emily and Lucas initially think members of the group are strange, they soon learn to see through their quirks and admire them for their positive personalities.
The second narrator, Belinda, is the assaulted girl. To begin with she is no longer attending school as her grandmother has deemed it an unsafe place. Belinda describes her life with childlike innocence, naively believing she is like everyone else and not understanding why she never receives the same privileges, e.g. joining after school clubs, getting a job. Whilst she slowly regains her confidence to return to school, Emily and Lucas begin to enjoy working at the LLC, however continue to feel guilty, as they are aware that although they are doing a great job, it is not doing anything to make Belinda’s life better. So, they aim to change that.
Although relationships feature heavily in this novel, <i>A Step Towards Falling</i> is largely based on similar themes to Jane Austen’s <i>Pride and Prejudice</i> – incidentally Belinda’s favourite story. Each key character have their own prejudices towards other people and act as though they are better than everyone else. Emily instantly judges Lucas to be a popular, uneducated boy due to his position on the school football team. Likewise, Lucas judges Emily for hanging out with “nerdy” people who only care about grades and getting into good colleges. Belinda, despite being different due to her disability, believes she is better than other people in her class because she can read and use a computer, whereas many can barely string a sentence together.
What McGovern is stressing throughout this narrative is the importance of getting to know someone first instead of arrogantly assuming you know exactly what they are like based on appearance. As can be revealed in <i>Pride and Prejudice</i>, someone who appears rude and distant may actually have a lovely, kind and considerate personality. Emily and Lucas learn this quite quickly, and Belinda is not far behind them. It is a shame that not many other people are as swift to realize this.
Although <i>A Step Towards Falling</i> is a work of fiction it deals with issues that many high school students, and even adults, face even if they do not realize it. Football players are often presumed to be unintelligent, likewise clever, “nerdy” people may come across as distant and uncaring. The worst thing that most, if not all, are guilty of is the presupposed belief that developmentally disabled people are weird and to be avoided. This is entirely false, as McGovern reveals; they have the right to the same life as anyone else, the only difference is they may take longer to learn what comes naturally to most people.
As a novel, <i>A Step Towards Falling</i> is a fairly gentle read about completely realistic events. Although there are references to Belinda’s assault, there is nothing majorly distressing. On the other hand, it is a bit too plain sailing, with no climax to speak of. Through her attempt to create an accurate representation of disabled people, McGovern fails to grip the reader or create excitement. There is no suspense or anticipation, which unfortunately makes the book a little disappointing.
Overall the story line may not be the most thrilling however it has a powerful voice and a satisfying ending. All teenagers, and adults too, should read this book and become more mindful of their behaviour and prejudices. Naturally this is not something that will be easy to completely eradicate, but as this book reveals, once you are aware of your inaccurate impressions it become easier to accept people the way they are, and become confident in getting to know their true personality.
<i>This eBook was provided by the publisher via NetGalley in exchange for an honest review
A Step Towards Falling</i> by Cammie McGovern is a book full of important messages. As with a couple of her previous novels, McGovern writes about characters with developmental disabilities, i.e. Autism, focusing on the ways in which they interact with the world around them and vice versa. This particular story is written with teenagers in mind, featuring topics such as dating and future prospects.
One of the narrators Emily, along with high school football player Lucas, are being punished for not helping a disabled student when they witnessed her being assaulted. In order to appease the school they are subjected to forty hours of community service – voluntarily helping to run the Boundaries and Relationships class at the Lifelong Learning Centre. Here they meet a handful of people with disabilities who need help to identify what is and what is not acceptable in potential romantic relationships. Although Emily and Lucas initially think members of the group are strange, they soon learn to see through their quirks and admire them for their positive personalities.
The second narrator, Belinda, is the assaulted girl. To begin with she is no longer attending school as her grandmother has deemed it an unsafe place. Belinda describes her life with childlike innocence, naively believing she is like everyone else and not understanding why she never receives the same privileges, e.g. joining after school clubs, getting a job. Whilst she slowly regains her confidence to return to school, Emily and Lucas begin to enjoy working at the LLC, however continue to feel guilty, as they are aware that although they are doing a great job, it is not doing anything to make Belinda’s life better. So, they aim to change that.
Although relationships feature heavily in this novel, <i>A Step Towards Falling</i> is largely based on similar themes to Jane Austen’s <i>Pride and Prejudice</i> – incidentally Belinda’s favourite story. Each key character have their own prejudices towards other people and act as though they are better than everyone else. Emily instantly judges Lucas to be a popular, uneducated boy due to his position on the school football team. Likewise, Lucas judges Emily for hanging out with “nerdy” people who only care about grades and getting into good colleges. Belinda, despite being different due to her disability, believes she is better than other people in her class because she can read and use a computer, whereas many can barely string a sentence together.
What McGovern is stressing throughout this narrative is the importance of getting to know someone first instead of arrogantly assuming you know exactly what they are like based on appearance. As can be revealed in <i>Pride and Prejudice</i>, someone who appears rude and distant may actually have a lovely, kind and considerate personality. Emily and Lucas learn this quite quickly, and Belinda is not far behind them. It is a shame that not many other people are as swift to realize this.
Although <i>A Step Towards Falling</i> is a work of fiction it deals with issues that many high school students, and even adults, face even if they do not realize it. Football players are often presumed to be unintelligent, likewise clever, “nerdy” people may come across as distant and uncaring. The worst thing that most, if not all, are guilty of is the presupposed belief that developmentally disabled people are weird and to be avoided. This is entirely false, as McGovern reveals; they have the right to the same life as anyone else, the only difference is they may take longer to learn what comes naturally to most people.
As a novel, <i>A Step Towards Falling</i> is a fairly gentle read about completely realistic events. Although there are references to Belinda’s assault, there is nothing majorly distressing. On the other hand, it is a bit too plain sailing, with no climax to speak of. Through her attempt to create an accurate representation of disabled people, McGovern fails to grip the reader or create excitement. There is no suspense or anticipation, which unfortunately makes the book a little disappointing.
Overall the story line may not be the most thrilling however it has a powerful voice and a satisfying ending. All teenagers, and adults too, should read this book and become more mindful of their behaviour and prejudices. Naturally this is not something that will be easy to completely eradicate, but as this book reveals, once you are aware of your inaccurate impressions it become easier to accept people the way they are, and become confident in getting to know their true personality.
Gareth von Kallenbach (980 KP) rated Saw (2004) in Movies
Aug 14, 2019
One of the most impressive cinematic debuts in memory has arrived in theaters and showcases a very impressive writer/director team that seem poised for great things based on a very impressive debut.
The film is “Saw” and it is a triumph of suspense, horror, and drama that harkens back to the classic work of David Fincher, and dare I say Hitchcock, as it is a bold and daring film, that is a fresh and creative as it is innovative.
The film is written by and features Leigh Whannell, as Adam, a young man who awakens in a dark room in a bathtub filled with water. Although disoriented, Adam soon discovers he is not alone, as he shares the room with another man, Dr. Lawrence Gordon (Cary Elwes), who like him, is chained at the ankle and trapped in the room.
As bad as this is, there is a dead body in the middle of the room that underscores the peril of the situation. Adam and Lawrence eventually discover audio tapes and a player that indicate that they are being held as they do not appreciate the life that they have and as such, are going to lose it unless they can prove how much they want to live.
Lawrence is told via the taped instructions that if he does not kill Adam by 6:00, then his wife and daughter will be killed and clues are given to indicate where to look in the decrepit room. The fact that Adam and Lawrence are chained and have very limited mobility forces the two of them to work with one another, despite the mistrust Adam has towards Lawrence as he was the one they tape said had to be killed.
Lawrence begins to tell Adam that he thinks he knows who is behind their situation, as there has been a series of murders in the area and he was suspect. Through a series of flashbacks Lawrence informs Adam about the Jigsaw killer, who places victims in perilous situations but provides them with a way out, provided they are willing to take extreme measures to show how much they want to live. The bizarre and gruesome situations lead to the introduction of Detective David Tapp (Danny Glover), who is investigating the grizzly trail left by the killer. In many ways, “Saw” become two movies in one as we learn about the history of the crimes, and the investigation leading up to the present situation between Lawrence and Adam. The film also cleverly guises certain events keeping the audience guessing as to if they happened in the past or are occurring in the present adding to the mystery and suspense.
As the story unfolds we learn more about Adam that underscores the tension and allows new avenues for the story to unfold. I will not spoil the twists and turns of the story but suffice it to say, there are plenty of red herrings and plot twists that will keep the audience guessing and some very creative and shocking twists and turns that culminates in an ending that will become one of the most talked about in film history and is destined to carve a niche in horror history.
Director James Wan, who also created the story, has crafted a visually gripping and disturbing film with a very effective pace that shows ability and talent well beyond his years. The film is so masterfully shot and organized that it is hard to believe that this is his first film, as Dramas can often be the downfall of many directors as they are unable to draw tension out of the material.
The screenplay by Whanell is gripping and effective. The characters are defined well within the context of their situations as it is vital to the story that information about the characters is slowly released to the audience in order to create and maintain the tension.
“Saw” is a true wonder as instead of being a simple horror film, it is a deeply complex and disturbing film that showcases two talented individuals in a very impressive debut. The images and story of the film stay with you long after the film ends and like it or love it “Saw” is a well crafted film that is not only disturbing, but refreshingly original. My only issue with the film is that it did drag just a bit while leading up to the finale, but that being said, “Saw” is easily the best horror film in many years.
The film is “Saw” and it is a triumph of suspense, horror, and drama that harkens back to the classic work of David Fincher, and dare I say Hitchcock, as it is a bold and daring film, that is a fresh and creative as it is innovative.
The film is written by and features Leigh Whannell, as Adam, a young man who awakens in a dark room in a bathtub filled with water. Although disoriented, Adam soon discovers he is not alone, as he shares the room with another man, Dr. Lawrence Gordon (Cary Elwes), who like him, is chained at the ankle and trapped in the room.
As bad as this is, there is a dead body in the middle of the room that underscores the peril of the situation. Adam and Lawrence eventually discover audio tapes and a player that indicate that they are being held as they do not appreciate the life that they have and as such, are going to lose it unless they can prove how much they want to live.
Lawrence is told via the taped instructions that if he does not kill Adam by 6:00, then his wife and daughter will be killed and clues are given to indicate where to look in the decrepit room. The fact that Adam and Lawrence are chained and have very limited mobility forces the two of them to work with one another, despite the mistrust Adam has towards Lawrence as he was the one they tape said had to be killed.
Lawrence begins to tell Adam that he thinks he knows who is behind their situation, as there has been a series of murders in the area and he was suspect. Through a series of flashbacks Lawrence informs Adam about the Jigsaw killer, who places victims in perilous situations but provides them with a way out, provided they are willing to take extreme measures to show how much they want to live. The bizarre and gruesome situations lead to the introduction of Detective David Tapp (Danny Glover), who is investigating the grizzly trail left by the killer. In many ways, “Saw” become two movies in one as we learn about the history of the crimes, and the investigation leading up to the present situation between Lawrence and Adam. The film also cleverly guises certain events keeping the audience guessing as to if they happened in the past or are occurring in the present adding to the mystery and suspense.
As the story unfolds we learn more about Adam that underscores the tension and allows new avenues for the story to unfold. I will not spoil the twists and turns of the story but suffice it to say, there are plenty of red herrings and plot twists that will keep the audience guessing and some very creative and shocking twists and turns that culminates in an ending that will become one of the most talked about in film history and is destined to carve a niche in horror history.
Director James Wan, who also created the story, has crafted a visually gripping and disturbing film with a very effective pace that shows ability and talent well beyond his years. The film is so masterfully shot and organized that it is hard to believe that this is his first film, as Dramas can often be the downfall of many directors as they are unable to draw tension out of the material.
The screenplay by Whanell is gripping and effective. The characters are defined well within the context of their situations as it is vital to the story that information about the characters is slowly released to the audience in order to create and maintain the tension.
“Saw” is a true wonder as instead of being a simple horror film, it is a deeply complex and disturbing film that showcases two talented individuals in a very impressive debut. The images and story of the film stay with you long after the film ends and like it or love it “Saw” is a well crafted film that is not only disturbing, but refreshingly original. My only issue with the film is that it did drag just a bit while leading up to the finale, but that being said, “Saw” is easily the best horror film in many years.
Lee (2222 KP) rated The Aeronauts (2019) in Movies
Mar 19, 2020
As my cinema bookings started to be cancelled, and upcoming releases delayed as part of the chaos that's currently unfolding globally, I thought it was time to start tackling some of those streaming site watch-lists that have been slowly growing in size over recent years. First up, a movie that I managed to miss late last year when released in cinemas, and is now available to stream on Amazon Prime.
The Aeronauts is set in the 1860s and sees Eddie Redmayne and Felicity Jones, last seen together playing husband and wife in The Theory of Everything, reuniting for a story that is inspired by true events. Redmayne plays James Glaisher, a scientist studying and presenting theories surrounding weather prediction, in particular how a trip to the skies in a gas balloon could help us to understand more about it. It's a science very much in it's infancy, which is why Glaisher has become such a laughing stock among his peers within the science community, all of whom declare meteorology to be fortune telling rather than science. Felicity Jones plays the fictional character of Amelia Wren, an aeronaut who lost her husband in a balloon accident and has been convinced by Glaisher to return to the skies and join him as pilot onboard the balloon as they explore some of his theories.
The movie begins with a large crowd who have gathered in London to watch the departure of the Glaisher and Wren. Glaisher is making some last minute checks and adjustments to the numerous pieces of equipment that will provide all of the data and readings he needs while they ascend up into the clouds, while Wren is currently nowhere to be seen. When she does eventually arrive, she's brash and loud, making a big entrance and playing up to the crowds, entertaining them with cartwheels and her parachuting dog. “Do you take anything seriously?" Glaisher asks.
As the balloon gently sets off, we get a beautiful view of 1860s London and a simple on-screen graph begins plotting the duration of their journey against their current height, something which returns every so often to keep us nicely updated with their progress. Before this expedition, the greatest altitude ever reached by a human being was 23,000ft, a record achieved by a French team. So, in addition to gaining some valuable scientific data along the way, there is the added incentive to try and beat the French too!
The whole expedition is followed pretty much in real time, but broken up by a series of flashbacks which give us some additional insight into our main characters and what brought them together. A look at the balloon trip which resulted in the death of her husband shows us just how seriously Amelia takes her role on this particular adventure. Meanwhile, we get more of a glimpse into the ridicule Glaisher received from his scientific colleagues, and an introduction to his dementia suffering father (Tom Courtenay).
As beautiful and exhilarating as it is to see the balloon as it continues up through the clouds and storms, floating peacefully through blue skies and swarms of butterflies, it wouldn't be much of a movie without some additional drama and tension to spice things up. So, as Glaisher and Wren argue about whether to push on way beyond the 23,000ft record or begin their descent, the temperature drops down to five degrees, and snow and ice begin to form on the balloon and basket. The thinning oxygen and cold temperatures starts to affect their judgement, their equipment and their health, and would you believe it, neither of them thought to bring along their gloves either!
When the pigeons they've brought along for sending instrument readings back down to base either start to die, or drop like rocks when launched from the balloon basket, it's clear that it's time to start heading back down. But, a problem with the balloon means that Wren must venture outside the basket and up on top of the balloon itself, in some of the most vertigo inducing scenes I've seen since watching The Walk on the big screen.
The Aeronauts was a lot more enjoyable than I was expecting. It's two stars, as you'd expect, more than capably carry the story and are both hugely entertaining. The effects used for rendering the balloon and it's surroundings, particularly during adverse weather conditions, are very effective and at times had me on the edge of my seat too.
The Aeronauts is set in the 1860s and sees Eddie Redmayne and Felicity Jones, last seen together playing husband and wife in The Theory of Everything, reuniting for a story that is inspired by true events. Redmayne plays James Glaisher, a scientist studying and presenting theories surrounding weather prediction, in particular how a trip to the skies in a gas balloon could help us to understand more about it. It's a science very much in it's infancy, which is why Glaisher has become such a laughing stock among his peers within the science community, all of whom declare meteorology to be fortune telling rather than science. Felicity Jones plays the fictional character of Amelia Wren, an aeronaut who lost her husband in a balloon accident and has been convinced by Glaisher to return to the skies and join him as pilot onboard the balloon as they explore some of his theories.
The movie begins with a large crowd who have gathered in London to watch the departure of the Glaisher and Wren. Glaisher is making some last minute checks and adjustments to the numerous pieces of equipment that will provide all of the data and readings he needs while they ascend up into the clouds, while Wren is currently nowhere to be seen. When she does eventually arrive, she's brash and loud, making a big entrance and playing up to the crowds, entertaining them with cartwheels and her parachuting dog. “Do you take anything seriously?" Glaisher asks.
As the balloon gently sets off, we get a beautiful view of 1860s London and a simple on-screen graph begins plotting the duration of their journey against their current height, something which returns every so often to keep us nicely updated with their progress. Before this expedition, the greatest altitude ever reached by a human being was 23,000ft, a record achieved by a French team. So, in addition to gaining some valuable scientific data along the way, there is the added incentive to try and beat the French too!
The whole expedition is followed pretty much in real time, but broken up by a series of flashbacks which give us some additional insight into our main characters and what brought them together. A look at the balloon trip which resulted in the death of her husband shows us just how seriously Amelia takes her role on this particular adventure. Meanwhile, we get more of a glimpse into the ridicule Glaisher received from his scientific colleagues, and an introduction to his dementia suffering father (Tom Courtenay).
As beautiful and exhilarating as it is to see the balloon as it continues up through the clouds and storms, floating peacefully through blue skies and swarms of butterflies, it wouldn't be much of a movie without some additional drama and tension to spice things up. So, as Glaisher and Wren argue about whether to push on way beyond the 23,000ft record or begin their descent, the temperature drops down to five degrees, and snow and ice begin to form on the balloon and basket. The thinning oxygen and cold temperatures starts to affect their judgement, their equipment and their health, and would you believe it, neither of them thought to bring along their gloves either!
When the pigeons they've brought along for sending instrument readings back down to base either start to die, or drop like rocks when launched from the balloon basket, it's clear that it's time to start heading back down. But, a problem with the balloon means that Wren must venture outside the basket and up on top of the balloon itself, in some of the most vertigo inducing scenes I've seen since watching The Walk on the big screen.
The Aeronauts was a lot more enjoyable than I was expecting. It's two stars, as you'd expect, more than capably carry the story and are both hugely entertaining. The effects used for rendering the balloon and it's surroundings, particularly during adverse weather conditions, are very effective and at times had me on the edge of my seat too.
Gareth von Kallenbach (980 KP) rated Digimon Adventure: Last Evolution Kizuna (2020) in Movies
Oct 8, 2020
Since 1999, the anime Digimon has had multiple reiterations full of characters known as ‘Digi-Destined’, kids who are connected to a Digimon, or Digital Monsters. As a kid who grew up watching the original Digimon Adventures (1999), the first series of the show holds a place near and dear in my heart. So when Toei Animation announced that six films were being released from 2015-2017 with the original Digimon Adventures characters just as teens, the nostalgia wave hit me hard. While those films were great I thought that was the end of the original Digimon series group for good. Oh was I wrong!
Digimon Adventure: The Last Evolution Kizuna (2020), follows the events of Digimon Adventure Tri, it’s been a couple of years and the Digi-Destined are all off pursuing careers, or college. To break it down; Sora (Colleen O’Shaughnessey) is working on becoming a flower arranger, Mimi (Kate Higgins) is working at an online start-up, Joe (Robbie Daymond) is working to become a doctor, Izzy (Mona Marshall) to no one’s surprise is the president of a company, and Matt (Nicolas Roye) and Tai (Joshua Seth) are about to finish up college. TK (Johnny Yong Bosch) and Kari (Tara Sands) are also in the mix, but the story’s focus is on Tai and Matt. Throughout the entire Digimon franchise, these two are rivals as well as best friends and as the characters have gotten older the best friends bit is more of the focus. Now Tai and Matt are having to cope with the reality of growing up along side their digimon Agumon (Tom Fahn) and Gabumon (Kirk Thornton), but what does that mean for all the Digi-Destined and their Digimon?
To not spoil anything, the core group is faced with the issue of Digi-Destined across the globe falling into mysterious comas. When a research team from the United States shows up asking for the Digi-Destined’s help to fight against a new Digimon believed to be the cause of the global issue is really where the story starts to flesh out beyond what the main 8 characters are doing with their lives. However, can finding out the truth behind this mysterious new Digimon and will figuring out what to do with their futures work out for Matt and Tai? Will they be able to save the Digi-Destined across the global or is something lurking in plain sight that will put a stop to their plans? All these questions and more are answered in the film, you’ll just have to watch as see!
The film explores some major themes, like growing up, the ebbs and flows of friendship, and being able to let go. All themes that are important, as Digimon Adventure’s (1999) original audience is at that age of figuring out what do you want to do with your life? or what is your purpose or goal for the future? While these questions are far greater then one or two words or even tied down to an age, the film uses them to direct the narrative of how Tai and Matt develop throughout the story. To be transparent, I cried about 5 minutes after the film ended as it felt like a true ending for the main characters. The film pulls on all the right heartstrings as well as gives some good conflict for viewers to enjoy. Also if that wasn’t enough, Toei’s animation style for the series has changed throughout the years and the animation in the film was gorgeous. I would watch it again just for that alone, however, there are so many reasons to watch it.
I feel this film gives people who were die-hard Digimon Adventure (1999) fans closure in a way not many series gives. There is even some influence of Digimon Adventure 02 (2000) within the film and some other familiar characters so if your a fan of the second series it’s a great addition. Like many films who ride the nostalgia wave, Digimon Adventure: The Last Evolution Kizuna (2020) is no different as it make your laugh, cry, and remember why you love a franchise so much. So give it a shot if you were a fan of Digimon, love a good anime movie, or just wanna relive a childhood classic! However, to those not familiar with the series, it might be challenging not knowing the characters backstories as the movie like the series has an emphasis on their relationships as friends. However, they are rebooting the original Digimon Aventures so thats a place to start too!
Digimon Adventure: The Last Evolution Kizuna (2020), follows the events of Digimon Adventure Tri, it’s been a couple of years and the Digi-Destined are all off pursuing careers, or college. To break it down; Sora (Colleen O’Shaughnessey) is working on becoming a flower arranger, Mimi (Kate Higgins) is working at an online start-up, Joe (Robbie Daymond) is working to become a doctor, Izzy (Mona Marshall) to no one’s surprise is the president of a company, and Matt (Nicolas Roye) and Tai (Joshua Seth) are about to finish up college. TK (Johnny Yong Bosch) and Kari (Tara Sands) are also in the mix, but the story’s focus is on Tai and Matt. Throughout the entire Digimon franchise, these two are rivals as well as best friends and as the characters have gotten older the best friends bit is more of the focus. Now Tai and Matt are having to cope with the reality of growing up along side their digimon Agumon (Tom Fahn) and Gabumon (Kirk Thornton), but what does that mean for all the Digi-Destined and their Digimon?
To not spoil anything, the core group is faced with the issue of Digi-Destined across the globe falling into mysterious comas. When a research team from the United States shows up asking for the Digi-Destined’s help to fight against a new Digimon believed to be the cause of the global issue is really where the story starts to flesh out beyond what the main 8 characters are doing with their lives. However, can finding out the truth behind this mysterious new Digimon and will figuring out what to do with their futures work out for Matt and Tai? Will they be able to save the Digi-Destined across the global or is something lurking in plain sight that will put a stop to their plans? All these questions and more are answered in the film, you’ll just have to watch as see!
The film explores some major themes, like growing up, the ebbs and flows of friendship, and being able to let go. All themes that are important, as Digimon Adventure’s (1999) original audience is at that age of figuring out what do you want to do with your life? or what is your purpose or goal for the future? While these questions are far greater then one or two words or even tied down to an age, the film uses them to direct the narrative of how Tai and Matt develop throughout the story. To be transparent, I cried about 5 minutes after the film ended as it felt like a true ending for the main characters. The film pulls on all the right heartstrings as well as gives some good conflict for viewers to enjoy. Also if that wasn’t enough, Toei’s animation style for the series has changed throughout the years and the animation in the film was gorgeous. I would watch it again just for that alone, however, there are so many reasons to watch it.
I feel this film gives people who were die-hard Digimon Adventure (1999) fans closure in a way not many series gives. There is even some influence of Digimon Adventure 02 (2000) within the film and some other familiar characters so if your a fan of the second series it’s a great addition. Like many films who ride the nostalgia wave, Digimon Adventure: The Last Evolution Kizuna (2020) is no different as it make your laugh, cry, and remember why you love a franchise so much. So give it a shot if you were a fan of Digimon, love a good anime movie, or just wanna relive a childhood classic! However, to those not familiar with the series, it might be challenging not knowing the characters backstories as the movie like the series has an emphasis on their relationships as friends. However, they are rebooting the original Digimon Aventures so thats a place to start too!
Movie Metropolis (309 KP) rated Aquaman (2018) in Movies
Jun 10, 2019
Bad Wigs aside it's really rather good
You could be forgiven for being rather sceptical walking into the cinema to see Aquaman, and it’s easy to see why. An uninspiring set of trailers preceded by the DCEU’s shall we say reluctance to resonate with audiences.
Of course, Wonder Woman was a sterling effort by Patty Jenkins, only hampered by a poor final act and the feeling that the female superhero couldn’t quite shake off the trappings of Zac Snyder’s overarching vision for the DC Extended Universe.
Justice League was a steaming pile of mediocrity and Batman vs Superman was fun if entirely forgettable. Aquaman arrives on the scene with the hopes of Warner Bros. entire franchise on its shoulders. But is it any good?
After the events of Justice League and the defeat of Steppenwolf, Aquaman (Jason Momoa) finds himself caught between a surface world that ravages the sea and the underwater Atlanteans who are ready to revolt. Much like the murky depths of the many oceans the film takes us to, Aquaman is at times, a clouded and muddled blockbuster that lacks the subtle nuances of the MCU, but do you know what, it’s actually really rather good.
As we should have been expecting, Aquaman plays the sensible card when it comes to plot and features numerous references to how we as human beings are destroying our oceans, and this is more than welcome. With the ongoing environmental crisis, the more we plug it in mainstream films, the better.
Jason Momoa takes to the role of Arthur Curry like a duck to water and gets to prove his acting prowess in some of the film’s more poignant moments. Nicole Kidman marks her superhero movie debut as his mother, Queen Atlanna and she looks like she’s having a royally good time. Elsewhere, Amber Heard battles against a truly ghastly wig as Momoa’s love-interest and sidekick – she’s fabulous, wig aside.
The supporting cast is also very strong. We get to see superhero veteran Willem Dafoe having a great time as wise Vulko and Patrick Wilson as Aquaman’s scaly brother, Orm. It’s a cracking cast that bolsters a film that is well-written and enjoyable throughout.
Director James Wan, mastermind of the Saw franchise and director of Furious 7brings his trademark filming style to the superhero blockbuster. There’s some stunning imagery throughout and it’s up there with Jurassic World: Fallen Kingdom as one of the best-looking films of the year. There’s something delightful to look at lurking in every frame and it’s leagues ahead of anything the DCEU has thrown at us.
The underwater world of Atlantis is brimming with life, albeit of the CGI variety. The neon colour-palate works incredibly well and it feels at times like you’re watching a Star Wars cloud city, but in the depths of the ocean. It’s nicely detailed and very well put together.
For all its flashy special effects and excellent cinematography, it feels wholly unoriginal
The special effects are on the whole, a bit of a mixed bag. The underwater worlds look fab and the sea creatures too have been improved after the critical mauling they received in the trailers. Nevertheless, there are some moments of shaky CGI, normally involving surface dwellers or Atlantean individuals, rather than scenery or creatures. That’s a shame as it distracts from a gorgeous looking film.
When it comes to villainy, both the DCEU and MCU have struggled to create compelling bad guys and unfortunately the same is true here. Yes, Patrick Wilson’s scheming brother is fun to watch, but he feels like a poor man’s Loki and that’s exactly what he is.
Then there’s Black Manta, portrayed by Yahya Abdul-Mateen II from The Greatest Showman. Despite being part of one of the film’s best sequences (a fantastically filmed rooftop chase in Italy), he doesn’t get to do a lot and his motives are very Killmonger-esque.
And therein lies the fundamental flaw with Aquaman. For all its flashy special effects and excellent cinematography, it feels wholly unoriginal. From Star Wars to Harry Potter and Thor to Black Panther, elements are borrowed here and there until they make up a film that at 143 minutes is a good 20 minutes too long.
But, it doesn’t take itself too seriously (a problem the DCEU has suffered previously) and Jason Momoa somehow manages to make that Aquaman suit work very well indeed. As far as the DCEU is concerned, this is by far the best film the franchise has put out so far – there’s life in the old dog yet. Aquaman is cheesy, campy fun, and I have to say, I really rather liked it. Just ignore the bad wigs.
https://moviemetropolis.net/2018/12/13/aquaman-review-bad-wigs-aside-its-really-rather-good/
Of course, Wonder Woman was a sterling effort by Patty Jenkins, only hampered by a poor final act and the feeling that the female superhero couldn’t quite shake off the trappings of Zac Snyder’s overarching vision for the DC Extended Universe.
Justice League was a steaming pile of mediocrity and Batman vs Superman was fun if entirely forgettable. Aquaman arrives on the scene with the hopes of Warner Bros. entire franchise on its shoulders. But is it any good?
After the events of Justice League and the defeat of Steppenwolf, Aquaman (Jason Momoa) finds himself caught between a surface world that ravages the sea and the underwater Atlanteans who are ready to revolt. Much like the murky depths of the many oceans the film takes us to, Aquaman is at times, a clouded and muddled blockbuster that lacks the subtle nuances of the MCU, but do you know what, it’s actually really rather good.
As we should have been expecting, Aquaman plays the sensible card when it comes to plot and features numerous references to how we as human beings are destroying our oceans, and this is more than welcome. With the ongoing environmental crisis, the more we plug it in mainstream films, the better.
Jason Momoa takes to the role of Arthur Curry like a duck to water and gets to prove his acting prowess in some of the film’s more poignant moments. Nicole Kidman marks her superhero movie debut as his mother, Queen Atlanna and she looks like she’s having a royally good time. Elsewhere, Amber Heard battles against a truly ghastly wig as Momoa’s love-interest and sidekick – she’s fabulous, wig aside.
The supporting cast is also very strong. We get to see superhero veteran Willem Dafoe having a great time as wise Vulko and Patrick Wilson as Aquaman’s scaly brother, Orm. It’s a cracking cast that bolsters a film that is well-written and enjoyable throughout.
Director James Wan, mastermind of the Saw franchise and director of Furious 7brings his trademark filming style to the superhero blockbuster. There’s some stunning imagery throughout and it’s up there with Jurassic World: Fallen Kingdom as one of the best-looking films of the year. There’s something delightful to look at lurking in every frame and it’s leagues ahead of anything the DCEU has thrown at us.
The underwater world of Atlantis is brimming with life, albeit of the CGI variety. The neon colour-palate works incredibly well and it feels at times like you’re watching a Star Wars cloud city, but in the depths of the ocean. It’s nicely detailed and very well put together.
For all its flashy special effects and excellent cinematography, it feels wholly unoriginal
The special effects are on the whole, a bit of a mixed bag. The underwater worlds look fab and the sea creatures too have been improved after the critical mauling they received in the trailers. Nevertheless, there are some moments of shaky CGI, normally involving surface dwellers or Atlantean individuals, rather than scenery or creatures. That’s a shame as it distracts from a gorgeous looking film.
When it comes to villainy, both the DCEU and MCU have struggled to create compelling bad guys and unfortunately the same is true here. Yes, Patrick Wilson’s scheming brother is fun to watch, but he feels like a poor man’s Loki and that’s exactly what he is.
Then there’s Black Manta, portrayed by Yahya Abdul-Mateen II from The Greatest Showman. Despite being part of one of the film’s best sequences (a fantastically filmed rooftop chase in Italy), he doesn’t get to do a lot and his motives are very Killmonger-esque.
And therein lies the fundamental flaw with Aquaman. For all its flashy special effects and excellent cinematography, it feels wholly unoriginal. From Star Wars to Harry Potter and Thor to Black Panther, elements are borrowed here and there until they make up a film that at 143 minutes is a good 20 minutes too long.
But, it doesn’t take itself too seriously (a problem the DCEU has suffered previously) and Jason Momoa somehow manages to make that Aquaman suit work very well indeed. As far as the DCEU is concerned, this is by far the best film the franchise has put out so far – there’s life in the old dog yet. Aquaman is cheesy, campy fun, and I have to say, I really rather liked it. Just ignore the bad wigs.
https://moviemetropolis.net/2018/12/13/aquaman-review-bad-wigs-aside-its-really-rather-good/