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Chris Sawin (602 KP) rated Fast & Furious Presents: Hobbs & Shaw (2019) in Movies
Aug 6, 2019
Before you read this review of Fast & Furious Presents: Hobbs & Shaw, I just want you to know that I can’t stand this franchise. I gave up keeping up with them after Furious 7 and felt like the Fast & Furious franchise peaked/was tolerable around Fast Five and never really went anywhere worthwhile before or since. I have not seen all the films and really only seemed to watch every other entry, but whether you’re in a heist or a drag race that lethal dose of masculinity being projectile vomited all over you by an entire cast (women included) for two hours straight is dull and tiresome. In fact, just call this franchise “Dull & Tiresome” from here on out and I doubt anyone would notice. It’s even got “tire” in there for car…stuff.
Ignoring the fact that screenwriters Chris Morgan (writer of every Fast and Furious entry since Tokyo Drift) and Drew Pearce (writer and director of the flop known as Hotel Artemis) were involved, I actually like David Leitch’s work (co-director of John Wick, director of Deadpool 2 and Atomic Blonde) even if he is probably going to screw up that Enter the Dragon remake. The trailers also made Hobbs & Shaw look like the stupid kind of action film I might enjoy; a bunch of fight scenes and chase sequences that give the middle finger to physics. But when a big moment in the film is a group of the good guys willingly bringing a bunch of sharp sticks to a battle where the villains are loaded to the teeth with highly advanced firearms, then you know you’ve jumped headfirst into the deep end of ridiculous without a special needs helmet.
The film is quick to point out that even though Luke Hobbs (Dwayne Johnson) is in Los Angeles and Deckard Shaw (Jason Statham) is in London, they’re essentially similar characters. Hobbs is a big dude who likes to Hulk smash everything while Shaw likes to think he has more class and finesse to his ass beatings and exaggerated torture devices. Despite their different cultures and supposedly unique way of approaching their work, they do nothing but talk trash, jack things up, simultaneously kick unsuspecting guys in the balls, and track stuff that needs tracking because that’s what trackers do. They reluctantly join forces and are in constant competition with one another to find some CT17 virus, which is currently inside Shaw’s MI6 operative sister Hattie Shaw (Vanessa Kirby) and is being hunted by formerly dead, cyber genetically altered, and current superhuman criminal mastermind Brixton Lore (Idris Elba). Don’t get too attached to the whole virus thing since even the film can’t keep up with what the hell it’s supposed to be.
The highlight of Hobbs & Shaw is the amount of cameos it’s able to squeeze into its excruciating two-hour-and-fifteen-minute runtime. The film utilizes about a third of the cast of a certain sequel to a certain film starring a certain Regenerating Degenerate and that cast is responsible for the humor that works best in whatever this spinoff is supposed to accomplish. Idris Elba is unbelievably cool as Brixton Lore. He’s this cocky and unstoppable bad ass who has a history with Shaw and his car chase on his self-driving motorcycle where he slides under a bus in slow motion is too sick for words. Vanessa Kirby has this on-screen presence that outshines the consistent bickering between Hobbs and Shaw. She’s the one capable female character in the film (Helen Mirren sitting behind glass doesn’t count) who seems to be the only one thinking logically, but it took her doing the dumbest thing imaginable at the beginning of the film to get that way.
This action film smorgasbord rides on the chemistry between Dwayne Johnson and Jason Statham, but that gets old as soon as they start sort-of working together. Their incessant ribbing of each other, desire to always outdo one another, and nonstop unfiltered machismo being this palpable elephant in the room leads to nothing but verbal dick size comparisons and leaves you thinking that maybe they’ll make out or grope each other by the end of the film. Spoiler alert: maybe they’re saving that for the sequel.
There isn’t enough of a differentiation between action sequences in Hobbs & Shaw to make it feel worthwhile. There’s chemistry between the cast that is undeniable and some of its outrageousness is entertaining, but it all begins to feel similar and falls apart far sooner than it should. For those who care, there is a mid-credits and after-credits scene but neither is surprising. The cheesy motivational speeches, forced heartfelt stories, and, “all technology in the world doesn’t beat heart,” mumbo jumbo doesn’t help matters. The supposed story for this film is basically a dunce cap disguised as a pocket protector. There are intelligent elements used in ludicrous ways and maybe that’s what could describe the Fast & Furious franchise as a whole. You can bury a diamond in a dog turd and say it’s extravagant and that it’s valuable, but it’s still a dog turd that smells awful and lingers long after it’s been flushed away.
Ignoring the fact that screenwriters Chris Morgan (writer of every Fast and Furious entry since Tokyo Drift) and Drew Pearce (writer and director of the flop known as Hotel Artemis) were involved, I actually like David Leitch’s work (co-director of John Wick, director of Deadpool 2 and Atomic Blonde) even if he is probably going to screw up that Enter the Dragon remake. The trailers also made Hobbs & Shaw look like the stupid kind of action film I might enjoy; a bunch of fight scenes and chase sequences that give the middle finger to physics. But when a big moment in the film is a group of the good guys willingly bringing a bunch of sharp sticks to a battle where the villains are loaded to the teeth with highly advanced firearms, then you know you’ve jumped headfirst into the deep end of ridiculous without a special needs helmet.
The film is quick to point out that even though Luke Hobbs (Dwayne Johnson) is in Los Angeles and Deckard Shaw (Jason Statham) is in London, they’re essentially similar characters. Hobbs is a big dude who likes to Hulk smash everything while Shaw likes to think he has more class and finesse to his ass beatings and exaggerated torture devices. Despite their different cultures and supposedly unique way of approaching their work, they do nothing but talk trash, jack things up, simultaneously kick unsuspecting guys in the balls, and track stuff that needs tracking because that’s what trackers do. They reluctantly join forces and are in constant competition with one another to find some CT17 virus, which is currently inside Shaw’s MI6 operative sister Hattie Shaw (Vanessa Kirby) and is being hunted by formerly dead, cyber genetically altered, and current superhuman criminal mastermind Brixton Lore (Idris Elba). Don’t get too attached to the whole virus thing since even the film can’t keep up with what the hell it’s supposed to be.
The highlight of Hobbs & Shaw is the amount of cameos it’s able to squeeze into its excruciating two-hour-and-fifteen-minute runtime. The film utilizes about a third of the cast of a certain sequel to a certain film starring a certain Regenerating Degenerate and that cast is responsible for the humor that works best in whatever this spinoff is supposed to accomplish. Idris Elba is unbelievably cool as Brixton Lore. He’s this cocky and unstoppable bad ass who has a history with Shaw and his car chase on his self-driving motorcycle where he slides under a bus in slow motion is too sick for words. Vanessa Kirby has this on-screen presence that outshines the consistent bickering between Hobbs and Shaw. She’s the one capable female character in the film (Helen Mirren sitting behind glass doesn’t count) who seems to be the only one thinking logically, but it took her doing the dumbest thing imaginable at the beginning of the film to get that way.
This action film smorgasbord rides on the chemistry between Dwayne Johnson and Jason Statham, but that gets old as soon as they start sort-of working together. Their incessant ribbing of each other, desire to always outdo one another, and nonstop unfiltered machismo being this palpable elephant in the room leads to nothing but verbal dick size comparisons and leaves you thinking that maybe they’ll make out or grope each other by the end of the film. Spoiler alert: maybe they’re saving that for the sequel.
There isn’t enough of a differentiation between action sequences in Hobbs & Shaw to make it feel worthwhile. There’s chemistry between the cast that is undeniable and some of its outrageousness is entertaining, but it all begins to feel similar and falls apart far sooner than it should. For those who care, there is a mid-credits and after-credits scene but neither is surprising. The cheesy motivational speeches, forced heartfelt stories, and, “all technology in the world doesn’t beat heart,” mumbo jumbo doesn’t help matters. The supposed story for this film is basically a dunce cap disguised as a pocket protector. There are intelligent elements used in ludicrous ways and maybe that’s what could describe the Fast & Furious franchise as a whole. You can bury a diamond in a dog turd and say it’s extravagant and that it’s valuable, but it’s still a dog turd that smells awful and lingers long after it’s been flushed away.
Gareth von Kallenbach (980 KP) rated Mission: Impossible - Fallout (2018) in Movies
Jul 8, 2019
Ethan Hunt (Tom Cruise) is back and on a mission to stop a terrorist group, known as The Apostles, from acquiring three uranium cores that they will use to create nuclear devices. Hunt and his Impossible Mission Force (IMF) team (Simon Pegg and Ving Rhames) set up a black market deal to purchase the cores. But during the buy Luther (Rhames) is taken hostage. In a rescue attempt Hunt and Benji (Pegg) let the cores slip into the hands of The Apostles. Due to Hunt’s choice to save his team over protecting the cores has put the world in danger of nuclear attack. Luckily, the head of the IMF, Alan Hunley (Alec Baldwin, has received intelligence that an arms dealer known as the White Widow (Vanessa Kirby) is looking to broker a deal for the cores. The only problem is the price is not money but the breaking out of the former IMF nemesis and anarchist Solomon Lane (Sean Harris). Hunt, eager for redemption, agrees to once again track down the cores. But the CIA want to make sure that this time the job is done right, so Director Erica Sloan (Angela Bassett) demands her top cleaner August Walker (Henry Cavill) accompany. With the help of the CIA they will try and break Lane out of prison and save the world from a catastrophic nuclear attack.
This film, the sixth installment of the Mission: Impossible film franchise, is a true action packed summer blockbuster. Written and directed by Christopher McQuarrie (Mission: Impossible – Rogue Nation, Jack Reacher) this film has the action and suspense that viewers have come to expect from these films. Cruise, who famously does all of his own stunts, puts in a stellar performance, as does the rest of the cast. Rebecca Ferguson, as assassin and Hunt love interest Ilsa Faust, has good on screen chemistry with Cruise. The overall vision of the film is big and everything is well shot. One example is seamlessly shot motorcycle/car chase through Paris streets, with narrow misses, extreme speeds and iconic scenery. Along with all of the action you get the sometimes corny dialog that you can expect. As long as you expect it, and maybe embrace it, you will definitely enjoy the film. At 2 hours and 27 minutes the runtime might seem long but the pace is really good so it does not feel that long.
This is the best action film of the summer I have seen so far. The attention to detail in the action scenes really shows through. The twists and turns of the story keep you as engaged as the jaw dropping stunts. Maybe not the film for everyone but a great action/spy movie. For me it is definitely a film that should be seen in theaters, maybe more than once.
This film, the sixth installment of the Mission: Impossible film franchise, is a true action packed summer blockbuster. Written and directed by Christopher McQuarrie (Mission: Impossible – Rogue Nation, Jack Reacher) this film has the action and suspense that viewers have come to expect from these films. Cruise, who famously does all of his own stunts, puts in a stellar performance, as does the rest of the cast. Rebecca Ferguson, as assassin and Hunt love interest Ilsa Faust, has good on screen chemistry with Cruise. The overall vision of the film is big and everything is well shot. One example is seamlessly shot motorcycle/car chase through Paris streets, with narrow misses, extreme speeds and iconic scenery. Along with all of the action you get the sometimes corny dialog that you can expect. As long as you expect it, and maybe embrace it, you will definitely enjoy the film. At 2 hours and 27 minutes the runtime might seem long but the pace is really good so it does not feel that long.
This is the best action film of the summer I have seen so far. The attention to detail in the action scenes really shows through. The twists and turns of the story keep you as engaged as the jaw dropping stunts. Maybe not the film for everyone but a great action/spy movie. For me it is definitely a film that should be seen in theaters, maybe more than once.
JT (287 KP) rated Fast & Furious Presents: Hobbs & Shaw (2019) in Movies
Mar 10, 2020
As an action connoisseur I know what I like. I’m easily pleased and not overly bothered by plot. It doesn’t always have to make sense, and set pieces can be incoherently over the top. This is why Fast & Furious Presents: Hobbs & Shaw is so enjoyable.
It’s clear to see that out of the franchise’s many characters Luke Hobbs (Dwayne Johnson) and Deckard Shaw (Jason Statham) have been by far the most entertaining. Johnson arrived in Fast & Furious 5 as the agent tasked with capturing Dominic Toretto (Vin Diesel) and his crew, while Statham’s debut was via a mid-credits scene during Fast & Furious 6 which connected to Fast and Furious: Tokyo Drift.
What carries the film through the odd bump here and there is the chemistry between Johnson and Statham. They are not pleased at having to work together in order to locate a deadly virus called ‘Snowflake’. The pair engage in a number of funny put-downs and quips that start to build a love hate relationship. By the end of the film it’s pretty much guaranteed they are going to be back for a sequel.
Fast & Furious is well known for pushing boundaries when it comes to action sequences and this installment continues the trend. From running down a high-rise building to a chase through the streets of London, culminating with a totally bonkers helicopter finale that must be seen to be believed. The fight scenes are well choreographed and slick, all catering to the actor in question, with a vast array of objects at hand to be used as lethal weapons.
Idris Elba‘s Brixton Lore is an admirable villain. With built in cybernetic augmentations he has a spidey sense that is second to none. But he doesn’t get the screen time he deserves and his back story feels rushed. That said, his motorbike has a distinct Transformers feel about it and not surprisingly it emanates a familiar sound during a high speed pursuit.
What carries the film through the odd bump here and there is the chemistry between Johnson and Statham.
As if all of that wasn’t enough, there are a couple of great cameos thrown which actually work quite well [we won’t spoil them]. Helen Mirren pops up as Queenie, the matriarch of the Shaw family and Deckard’s sister Hattie (Vanessa Kirby) has an integral role to play.
Whatever you might think of the franchise or how tired it has become, there is no getting away from the fact that it has made a shed load of money. Things certainly don’t look like slowing down either, with the release of Fast & Furious 9 due out next year – although it could be minus this dynamic duo.
It’s clear to see that out of the franchise’s many characters Luke Hobbs (Dwayne Johnson) and Deckard Shaw (Jason Statham) have been by far the most entertaining. Johnson arrived in Fast & Furious 5 as the agent tasked with capturing Dominic Toretto (Vin Diesel) and his crew, while Statham’s debut was via a mid-credits scene during Fast & Furious 6 which connected to Fast and Furious: Tokyo Drift.
What carries the film through the odd bump here and there is the chemistry between Johnson and Statham. They are not pleased at having to work together in order to locate a deadly virus called ‘Snowflake’. The pair engage in a number of funny put-downs and quips that start to build a love hate relationship. By the end of the film it’s pretty much guaranteed they are going to be back for a sequel.
Fast & Furious is well known for pushing boundaries when it comes to action sequences and this installment continues the trend. From running down a high-rise building to a chase through the streets of London, culminating with a totally bonkers helicopter finale that must be seen to be believed. The fight scenes are well choreographed and slick, all catering to the actor in question, with a vast array of objects at hand to be used as lethal weapons.
Idris Elba‘s Brixton Lore is an admirable villain. With built in cybernetic augmentations he has a spidey sense that is second to none. But he doesn’t get the screen time he deserves and his back story feels rushed. That said, his motorbike has a distinct Transformers feel about it and not surprisingly it emanates a familiar sound during a high speed pursuit.
What carries the film through the odd bump here and there is the chemistry between Johnson and Statham.
As if all of that wasn’t enough, there are a couple of great cameos thrown which actually work quite well [we won’t spoil them]. Helen Mirren pops up as Queenie, the matriarch of the Shaw family and Deckard’s sister Hattie (Vanessa Kirby) has an integral role to play.
Whatever you might think of the franchise or how tired it has become, there is no getting away from the fact that it has made a shed load of money. Things certainly don’t look like slowing down either, with the release of Fast & Furious 9 due out next year – although it could be minus this dynamic duo.
BankofMarquis (1832 KP) rated Hillbilly Elegy (2020) in Movies
Apr 14, 2021
Decent - with 3 strong female performances
Glenn Close is one of the most lauded Actresses of our time and her current streak of 7 Academy Award nominations without a win is a record. It would be ironic, indeed, if she would win her first Oscar with this, her 8th Oscar nomination, this time as Best Supporting Actress in HILLBILLY ELEGY.
Written by Vanessa Taylor and based on the book (and true story) by J.D. Vance, HILLBILLY ELEGY tells the tale of J.D. (naturally enough), who overcomes his impoverished roots and dysfunctional family background to become a star Law Student at Yale.
Gabriel Basso plays J.D. as the Law Student and he is just not charismatic enough to shine in this role especially as he goes up against 3 talented actresses that have PLENTY to sink their considerable acting chops into.
Close plays “Mamaw”, the grandmother of the clan. She is a no-nonsense, pragmatic matriarch that lives and breathes (through cigarette clogged lungs) “Family First”. It’s an interesting and strong performance by Close, but she does teeter into “Granny Clampett” territory at times for me. It’s a good performance…but the one that will finally get Close her Oscar? I don’t think so.
Amy Adams steals the movie as J.D.’s mother (and Mamaw’s daughter), Bev. She is (as we say in these parts) “a whole thing”. Her Bev is self-centered, clawing, desperate and constantly wondering why the world doesn’t give her the things that she is deserved. Nothing is EVER her fault and if you don’t believe me, just ask her. Adams’ performance is the strongest in this film and she never crosses the line into caricature.
One last moment of credit needs to be given to Haley Bennett as J.D.’s sister Lindsay, who is often the one stuck taking care of their Mother. When I first saw Bennett a few years back in 2016 in back to back strong performances in THE GIRL ON THE TRAIN and THE MAGNIFICENT SEVEN, I thought we were watching the emergence of a star. It’s good to see her on the screen again.
Credit for these performances must go the unlikely person helming this film, good ol’, reliable Ron Howard who’s workmanlike Directorial instincts and style lends itself very well to this, often told, type of story. It’s nothing flashy, but gets the job done.
And that pretty much sums up my feelings towards this film “nothing flashy, but gets the job done”, not the greatest film to come out in 2020 - but it is layered with 3 strong female performances by Adams, Bennett and Close so that makes this film one good enough to check out.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
Written by Vanessa Taylor and based on the book (and true story) by J.D. Vance, HILLBILLY ELEGY tells the tale of J.D. (naturally enough), who overcomes his impoverished roots and dysfunctional family background to become a star Law Student at Yale.
Gabriel Basso plays J.D. as the Law Student and he is just not charismatic enough to shine in this role especially as he goes up against 3 talented actresses that have PLENTY to sink their considerable acting chops into.
Close plays “Mamaw”, the grandmother of the clan. She is a no-nonsense, pragmatic matriarch that lives and breathes (through cigarette clogged lungs) “Family First”. It’s an interesting and strong performance by Close, but she does teeter into “Granny Clampett” territory at times for me. It’s a good performance…but the one that will finally get Close her Oscar? I don’t think so.
Amy Adams steals the movie as J.D.’s mother (and Mamaw’s daughter), Bev. She is (as we say in these parts) “a whole thing”. Her Bev is self-centered, clawing, desperate and constantly wondering why the world doesn’t give her the things that she is deserved. Nothing is EVER her fault and if you don’t believe me, just ask her. Adams’ performance is the strongest in this film and she never crosses the line into caricature.
One last moment of credit needs to be given to Haley Bennett as J.D.’s sister Lindsay, who is often the one stuck taking care of their Mother. When I first saw Bennett a few years back in 2016 in back to back strong performances in THE GIRL ON THE TRAIN and THE MAGNIFICENT SEVEN, I thought we were watching the emergence of a star. It’s good to see her on the screen again.
Credit for these performances must go the unlikely person helming this film, good ol’, reliable Ron Howard who’s workmanlike Directorial instincts and style lends itself very well to this, often told, type of story. It’s nothing flashy, but gets the job done.
And that pretty much sums up my feelings towards this film “nothing flashy, but gets the job done”, not the greatest film to come out in 2020 - but it is layered with 3 strong female performances by Adams, Bennett and Close so that makes this film one good enough to check out.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Napoleon (2023) in Movies
Dec 6, 2023
Whole Does Not Equal The Sum of it's Parts
The new Epic Motion Picture NAPOLEON is the perfect example of the term “the whole does not equal the sum of the parts”. There are some very, very good items in this film, they just don’t combine to make a Motion Picture above the average.
Directed by Ridley Scott (GLADIATOR), NAPOLEON tells the tale of the titular Frenchman who rises to great power only to fall to great defeat. It is a story ripe for a fascinating film, this just isn’t that film.
There are many, many things that work in this movie, like the performance of Oscar Winner Joaquin Phoenix (THE JOKER) as Napoleon. He plays him as an enigmatic figure who is over-compensating for a lack of…something. Bravery? Self-Confidence? Height? That’s the problem, the film never delves into it, it just gives us a quirky character - strongly played by Phoenix - who is, obviously, using his power and skills as a General to cover up a flaw…whatever that is.
Vanessa Kirby (Oscar Nominated for PIECES OF A WOMAN a few years back) is equally strong and enigmatic as Napoleon’s Empress, Josephine. Kirby’s performance is, probably, the strongest in the film as she plays Josephine as strong and independent, living by her own rules and knowing that she has the powerful Napoleon at her beck-and-call. But, again, we never really find out the person behind the facade and her scenes with Phoenix/Napoleon fall flat for there never is any really love or passion between the 2 of them, just a “baby boy” fawning all over Josephine and a manipulative (we think) social climber using this “baby boy”.
4x Oscar Nominee (but never a winner) Ridley Scott (GLADIATOR) knows how to produce an EPIC and he puts together some EPIC Battle Scenes and Napoleon’s Emperor Inauguration scene is one to behold (which is why you should see this film on the largest screen possible) but these scenes seem isolated and separated from the rest of the film.
And, there, is where the problem of the film is. We have an interesting performance by Phoenix, a strong performance by Kirby and EPIC scenes from Scott, but they all seem isolated and in their own film and never quite gel together to build any emotional connection. All seem cold, flat and calculated. There is none of the passion that Napoleon says he has for France.
Go to marvel at the craft of the film, leave feeling unfulfilled, emotionally by NAPOLEON.
Letter Grade: B-
6 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Directed by Ridley Scott (GLADIATOR), NAPOLEON tells the tale of the titular Frenchman who rises to great power only to fall to great defeat. It is a story ripe for a fascinating film, this just isn’t that film.
There are many, many things that work in this movie, like the performance of Oscar Winner Joaquin Phoenix (THE JOKER) as Napoleon. He plays him as an enigmatic figure who is over-compensating for a lack of…something. Bravery? Self-Confidence? Height? That’s the problem, the film never delves into it, it just gives us a quirky character - strongly played by Phoenix - who is, obviously, using his power and skills as a General to cover up a flaw…whatever that is.
Vanessa Kirby (Oscar Nominated for PIECES OF A WOMAN a few years back) is equally strong and enigmatic as Napoleon’s Empress, Josephine. Kirby’s performance is, probably, the strongest in the film as she plays Josephine as strong and independent, living by her own rules and knowing that she has the powerful Napoleon at her beck-and-call. But, again, we never really find out the person behind the facade and her scenes with Phoenix/Napoleon fall flat for there never is any really love or passion between the 2 of them, just a “baby boy” fawning all over Josephine and a manipulative (we think) social climber using this “baby boy”.
4x Oscar Nominee (but never a winner) Ridley Scott (GLADIATOR) knows how to produce an EPIC and he puts together some EPIC Battle Scenes and Napoleon’s Emperor Inauguration scene is one to behold (which is why you should see this film on the largest screen possible) but these scenes seem isolated and separated from the rest of the film.
And, there, is where the problem of the film is. We have an interesting performance by Phoenix, a strong performance by Kirby and EPIC scenes from Scott, but they all seem isolated and in their own film and never quite gel together to build any emotional connection. All seem cold, flat and calculated. There is none of the passion that Napoleon says he has for France.
Go to marvel at the craft of the film, leave feeling unfulfilled, emotionally by NAPOLEON.
Letter Grade: B-
6 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (980 KP) rated Deadpool 2 (2018) in Movies
Jun 19, 2019
The Mercenary with a mouth is back with the eagerly awaited arrival of “Deadpool 2”. The films sees the generally well-meaning but highly dysfunctional Deadpool (Ryan Reynolds), back to taking out bad guys as a contract player but also managing his relationship with Vanessa (Morena Baccarin). When an unexpected event sends his life into a freefall, Deadpool tries to find a new purpose with the help of his X-Men associates from the last film who attempt to recruit him into their organization.
His first mission is to defuse an angry and destructive young mutant named Russell (Julian Dennison), which takes an unexpected turn and lands them both in serious trouble.
One would think that would be enough to cause some major life changes for Deadpool but thanks to the arrival of Cable (Josh Brolin), a cyborg soldier from the future; things are about to get much more complicated and intense.
Undaunted, Deadpool opts to form his own league of heroes and aside from Domino (Zazie Beetz); they seem to be as unlucky or dysfunctional as their leader which makes for some very hysterical consequences.
What follows is an action and laugh-laden adventure which brings even more of what made the first film such a success to the audience as the film takes the bawdy action of the first and ups the ante thanks in large part to an expanded budget and cast.
My biggest concern for the film was that with an expanded budget there would be too many characters and an attempt to do far too much with the film. That did play out at times in the beginning as for me, the first film worked so well as they had to let the characters rather than the action and effects carry it and the rapid-fire arrival of so many jokes and creative profanity made repeat viewing of the film necessary to catch everything.
This time out we get elaborate action and chase sequences as well as a much larger cast. At times it seemed as if this would possibly overshadow the characters and story but Reynolds and Director David Leith never let it cross that line.
They also go back to the core elements in the final third of the film which really allows the film to fully connect with the tone of the original film and brings the film home to a satisfying conclusion. What really sold the film for me was the brilliant and very inspired extended scene during the credits which allows Deadpool to “fix” various issues which perfectly captures the irreverent character and the best aspects of the series where the cast is willing to make fun of themselves as well as the larger universe in which their characters exist.
I cannot wait to see what comes next as “DeadPool 2” is another fun outing for the character and something very different from most comic based movies.
http://sknr.net/2018/05/14/deadpool-2-2/
His first mission is to defuse an angry and destructive young mutant named Russell (Julian Dennison), which takes an unexpected turn and lands them both in serious trouble.
One would think that would be enough to cause some major life changes for Deadpool but thanks to the arrival of Cable (Josh Brolin), a cyborg soldier from the future; things are about to get much more complicated and intense.
Undaunted, Deadpool opts to form his own league of heroes and aside from Domino (Zazie Beetz); they seem to be as unlucky or dysfunctional as their leader which makes for some very hysterical consequences.
What follows is an action and laugh-laden adventure which brings even more of what made the first film such a success to the audience as the film takes the bawdy action of the first and ups the ante thanks in large part to an expanded budget and cast.
My biggest concern for the film was that with an expanded budget there would be too many characters and an attempt to do far too much with the film. That did play out at times in the beginning as for me, the first film worked so well as they had to let the characters rather than the action and effects carry it and the rapid-fire arrival of so many jokes and creative profanity made repeat viewing of the film necessary to catch everything.
This time out we get elaborate action and chase sequences as well as a much larger cast. At times it seemed as if this would possibly overshadow the characters and story but Reynolds and Director David Leith never let it cross that line.
They also go back to the core elements in the final third of the film which really allows the film to fully connect with the tone of the original film and brings the film home to a satisfying conclusion. What really sold the film for me was the brilliant and very inspired extended scene during the credits which allows Deadpool to “fix” various issues which perfectly captures the irreverent character and the best aspects of the series where the cast is willing to make fun of themselves as well as the larger universe in which their characters exist.
I cannot wait to see what comes next as “DeadPool 2” is another fun outing for the character and something very different from most comic based movies.
http://sknr.net/2018/05/14/deadpool-2-2/
BankofMarquis (1832 KP) rated Fast & Furious Presents: Hobbs & Shaw (2019) in Movies
Aug 6, 2019
Delivers EXACTLY what is expected - and that's a good thing
If you are heading into the multi-plex to check out FAST AND FURIOUS PRESENTS: HOBBS & SHAW, the 9th(!) entry in the Fast and Furious Universe, you pretty much know (and expect) what you are about to watch.
And HOBBS & SHAW does not disappoint - delivering over-the-top action with unsinkable heroes and unblinking villains battling each other with explosions galore and disposable henchmen being...well...disposed of left and right.
Reprising their roles as "Lawman" Luke Hobbs and "Outcast" Deckard Shaw (F&F terms for them) are the charismatic Dwayne "The Rock" Johnson and the smoldering Jason Statham. Their two characters can't stand each other, so - naturally - they are forced to work in concert with each other to stop Super-Villain Brixton (Edris Elba). Can these 2 "frenemies" learn to put aside their differences and work together to stop a Villain that they cannot stop by themselves?
What do you think?
But...it's the journey...not the destination that's the fun of this film and this film is fun, fun, fun, indeed. Both Johnson and Statham know EXACTLY what type of film they are in - and know what their core audience is coming to this film to see - and they deliver in spades. They are perfect for these characters and are perfectly paired together. While the script, at times, seemed forced, these 2 action SuperStars make even the clunkiest of dialogue work and they are "game" for whatever is thrown at them.
Elba joins in strongly as the villain and newcomer (at least to this franchise) Vanessa Kirby (the White Widow in MISSION IMPOSSIBLE: FALLOUT) just as strongly counterbalances all 3 of them as the "McGuffin" of this film - the thing that the good guys and the bad guys are fighting each other for. Dame Helen Mirren is back as the criminal mother of Statham's character and she understands what type of film she's in as well. So does Eddie Marsan, who looks like he is having an absolute ball as a scientist brought into the fray.
There are also 2 "secret cameos" in this film that are fun - and I perked up in my seat when both of these cameos injected energy into this testosterone-infused flick.
Former Stuntman and Director David Leitch (DEADPOOL 2, ATOMIC BLONDE) throws a ton of action, car chases, guns, fights and explosions at the audience - all to good effect. His answer to bad acting and huge, implausible plot holes? Blow things up! And that works very, very well for this film. Leitch delivers exactly what is expected here - and that's just fine for me.
I was extremely entertained by this movie. I was in the mood for it - and it delivered exactly what I was looking for. Kind of like eating a good burger.
Letter Grade: A- (though, don't expect to break into "discussion groups" afterward)
8 stars (out of 10) and you can take that to the Bank (ofMarquis)
And HOBBS & SHAW does not disappoint - delivering over-the-top action with unsinkable heroes and unblinking villains battling each other with explosions galore and disposable henchmen being...well...disposed of left and right.
Reprising their roles as "Lawman" Luke Hobbs and "Outcast" Deckard Shaw (F&F terms for them) are the charismatic Dwayne "The Rock" Johnson and the smoldering Jason Statham. Their two characters can't stand each other, so - naturally - they are forced to work in concert with each other to stop Super-Villain Brixton (Edris Elba). Can these 2 "frenemies" learn to put aside their differences and work together to stop a Villain that they cannot stop by themselves?
What do you think?
But...it's the journey...not the destination that's the fun of this film and this film is fun, fun, fun, indeed. Both Johnson and Statham know EXACTLY what type of film they are in - and know what their core audience is coming to this film to see - and they deliver in spades. They are perfect for these characters and are perfectly paired together. While the script, at times, seemed forced, these 2 action SuperStars make even the clunkiest of dialogue work and they are "game" for whatever is thrown at them.
Elba joins in strongly as the villain and newcomer (at least to this franchise) Vanessa Kirby (the White Widow in MISSION IMPOSSIBLE: FALLOUT) just as strongly counterbalances all 3 of them as the "McGuffin" of this film - the thing that the good guys and the bad guys are fighting each other for. Dame Helen Mirren is back as the criminal mother of Statham's character and she understands what type of film she's in as well. So does Eddie Marsan, who looks like he is having an absolute ball as a scientist brought into the fray.
There are also 2 "secret cameos" in this film that are fun - and I perked up in my seat when both of these cameos injected energy into this testosterone-infused flick.
Former Stuntman and Director David Leitch (DEADPOOL 2, ATOMIC BLONDE) throws a ton of action, car chases, guns, fights and explosions at the audience - all to good effect. His answer to bad acting and huge, implausible plot holes? Blow things up! And that works very, very well for this film. Leitch delivers exactly what is expected here - and that's just fine for me.
I was extremely entertained by this movie. I was in the mood for it - and it delivered exactly what I was looking for. Kind of like eating a good burger.
Letter Grade: A- (though, don't expect to break into "discussion groups" afterward)
8 stars (out of 10) and you can take that to the Bank (ofMarquis)
Movie Metropolis (309 KP) rated Deadpool (2016) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
A Valentine's weekend wonder
It’s hard to believe that one of Marvel’s hottest properties – Deadpool, has taken this long to get to the silver screen. Of course, we can always cast our minds back to 2009’s disastrous X-Men Origins: Wolverine. But for goodness sake, let’s not.
Here, after much petitioning from fans and Reynolds himself, Deadpool finally gets his own origins story, directed by Tim Miller in his debut feature film. But was it worth the wait?
Ryan Reynolds returns as a much more faithful representation of Wade Wilson, a small-time mercenary going through the motions until a shock cancer diagnosis makes him rethink his life – and career prospects, at the cost of losing touch with his love interest, Vanessa, played by the incredibly beautiful Morena Baccarin.
Naturally, a villain in the shape of Ed Skrein’s Ajax, provides the film with its main opposition, though a few other one-dimensional characters appear alongside him every so often. Unfortunately, they make little impact throughout the course of Deadpool and even Skrein suffers next to Reynolds potty-mouthed Wilson.
MV5BMjE3MzI3NzAwOV5BMl5BanBnXkFtZTgwNDc2Nzc5NzE@._V1__SX1303_SY615_
Brianna Hildebrand, Ryan Reynolds and Stefan Kapicic. Photo by 20th Century Fox.
And ta da! The red-suited antihero is born, much like any other Marvel origins story in fact. However, this is most definitely not your typical superhero flick. From gratuitous sex, violence, swearing and drug references, not to mention the character’s trademark breaking of the fourth wall, it’s all here – and you know what, it’s a breath of fresh air.
Reynolds is absolutely born to play this character and is the best we have seen him in years. Gone is the romantic comedy slop or stereotypical action hero he has portrayed over the last few years and in their place is a witty, incredibly self-aware persona that is one of Marvel’s greatest assets.
Elsewhere, the direction is so confident, and the design choices so slick, it’s difficult to fully comprehend that this is Tim Miller’s first feature film. From a brilliant set of opening credits that poke fun at the narcissism of Hollywood, to some excellent commentary on the superhero genre itself, it’s very cocky indeed and very very funny.
Naturally, not every gag lands on target, but that’s no surprise given that even the best comedies suffer from this. There’s also a lack of development beyond the titular character that hurts the film’s more romantic side, and with Deadpool’s lengthy running time, this could’ve been avoided somewhat.
Other than that, it’s pretty much spot on. Ryan Reynolds looks like he’s having a blast in front of the camera, and Tim Miller looks like he’s having a great time behind it. What about the old Fox and Marvel rivalry chestnut? Well, there’s not even a whiff of it – apart from a sarcastic remark that is.
Overall, Deadpool was a gamble and with Fox’s less than stellar reputation for fashioning decent films out of Marvel property, a huge one at that. But, against all the odds it has paid off spectacularly.
Keep this to yourselves, but it could quite possibly be the best comic-book adaptation to date.
https://moviemetropolis.net/2016/02/13/a-valentines-weekend-wonder-deadpool-review/
Here, after much petitioning from fans and Reynolds himself, Deadpool finally gets his own origins story, directed by Tim Miller in his debut feature film. But was it worth the wait?
Ryan Reynolds returns as a much more faithful representation of Wade Wilson, a small-time mercenary going through the motions until a shock cancer diagnosis makes him rethink his life – and career prospects, at the cost of losing touch with his love interest, Vanessa, played by the incredibly beautiful Morena Baccarin.
Naturally, a villain in the shape of Ed Skrein’s Ajax, provides the film with its main opposition, though a few other one-dimensional characters appear alongside him every so often. Unfortunately, they make little impact throughout the course of Deadpool and even Skrein suffers next to Reynolds potty-mouthed Wilson.
MV5BMjE3MzI3NzAwOV5BMl5BanBnXkFtZTgwNDc2Nzc5NzE@._V1__SX1303_SY615_
Brianna Hildebrand, Ryan Reynolds and Stefan Kapicic. Photo by 20th Century Fox.
And ta da! The red-suited antihero is born, much like any other Marvel origins story in fact. However, this is most definitely not your typical superhero flick. From gratuitous sex, violence, swearing and drug references, not to mention the character’s trademark breaking of the fourth wall, it’s all here – and you know what, it’s a breath of fresh air.
Reynolds is absolutely born to play this character and is the best we have seen him in years. Gone is the romantic comedy slop or stereotypical action hero he has portrayed over the last few years and in their place is a witty, incredibly self-aware persona that is one of Marvel’s greatest assets.
Elsewhere, the direction is so confident, and the design choices so slick, it’s difficult to fully comprehend that this is Tim Miller’s first feature film. From a brilliant set of opening credits that poke fun at the narcissism of Hollywood, to some excellent commentary on the superhero genre itself, it’s very cocky indeed and very very funny.
Naturally, not every gag lands on target, but that’s no surprise given that even the best comedies suffer from this. There’s also a lack of development beyond the titular character that hurts the film’s more romantic side, and with Deadpool’s lengthy running time, this could’ve been avoided somewhat.
Other than that, it’s pretty much spot on. Ryan Reynolds looks like he’s having a blast in front of the camera, and Tim Miller looks like he’s having a great time behind it. What about the old Fox and Marvel rivalry chestnut? Well, there’s not even a whiff of it – apart from a sarcastic remark that is.
Overall, Deadpool was a gamble and with Fox’s less than stellar reputation for fashioning decent films out of Marvel property, a huge one at that. But, against all the odds it has paid off spectacularly.
Keep this to yourselves, but it could quite possibly be the best comic-book adaptation to date.
https://moviemetropolis.net/2016/02/13/a-valentines-weekend-wonder-deadpool-review/
Emma @ The Movies (1786 KP) rated Mrs Lowry & Son (2019) in Movies
Jun 20, 2020
I seriously considered not reviewing this film, I knew that it probably wouldn't be something I'd ever watch again but I was hoping that with Timothy Spall and Vanessa Redgrave at the helm it would be a pleasant thing to watch.
Lowry's life revolves around his mother, he cooks for her and keeps her company, but nothing he does seems to be good enough. Her life isn't what she'd like at all, her husband left them with debts and they're living in a neighbourhood that's beneath her and she's clinging to the things that are "better" in the world. He son's hobby of painting isn't to her liking especially after a critic pans a piece he submits. Lowry has one thing to cling to in life but his mother is a fickle person and it may be that nothing is ever enough to her.
The majority of the film is made up of scenes around Lowry and his mother, even at only 1 hour 31 minutes that's a lot of time with limited cast. Both leads are impressive actors and there's no denying that you can see it in this movie but there's something lacking. The story wasn't going to be an overly exciting one and was going to rely on its dramatic performances to keep your interest, everything was "nearly but not quite". You expect some moving moments and at several points you think "oh it's coming now" but it always seems to peter off before the pay-off.
That's not to say that the acting isn't good, it is, but all the scenes were just moments short of something special. Spall does get a few opportunities that get you choked up for him, but as I say, there was opportunity for much more.
It's an intriguing story of the way love for family can dictate the way your life goes. The dynamic between the two is toxic and Lowry's battle between getting his mother's approval and doing what he wants is a powerful one... that this film doesn't quite manage to capture.
What this film does do beautifully is the portrayal of Lowry's paintings. I'm not an expert on his work but it was easy to spot where the scenes had been framed to reflect a piece, you get a chance to see the comparisons briefly at the end of the film. The colours throughout are also spot on for his pieces and the whole film has a very effective range in that respect.
The picturesque doesn't make up for the way the rest of the film cuts off moment in their prime, while I knew it probably wasn't going to hit the high star ratings I had hoped for something above average considering the cast. It sadly didn't deliver and to add even more disappointment it was ended with what I can only describe as a BBC ending to a partially dramatised biography and well, that just put the final nail in the coffin for me.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/09/mrs-lowry-son-movie-review.html
Lowry's life revolves around his mother, he cooks for her and keeps her company, but nothing he does seems to be good enough. Her life isn't what she'd like at all, her husband left them with debts and they're living in a neighbourhood that's beneath her and she's clinging to the things that are "better" in the world. He son's hobby of painting isn't to her liking especially after a critic pans a piece he submits. Lowry has one thing to cling to in life but his mother is a fickle person and it may be that nothing is ever enough to her.
The majority of the film is made up of scenes around Lowry and his mother, even at only 1 hour 31 minutes that's a lot of time with limited cast. Both leads are impressive actors and there's no denying that you can see it in this movie but there's something lacking. The story wasn't going to be an overly exciting one and was going to rely on its dramatic performances to keep your interest, everything was "nearly but not quite". You expect some moving moments and at several points you think "oh it's coming now" but it always seems to peter off before the pay-off.
That's not to say that the acting isn't good, it is, but all the scenes were just moments short of something special. Spall does get a few opportunities that get you choked up for him, but as I say, there was opportunity for much more.
It's an intriguing story of the way love for family can dictate the way your life goes. The dynamic between the two is toxic and Lowry's battle between getting his mother's approval and doing what he wants is a powerful one... that this film doesn't quite manage to capture.
What this film does do beautifully is the portrayal of Lowry's paintings. I'm not an expert on his work but it was easy to spot where the scenes had been framed to reflect a piece, you get a chance to see the comparisons briefly at the end of the film. The colours throughout are also spot on for his pieces and the whole film has a very effective range in that respect.
The picturesque doesn't make up for the way the rest of the film cuts off moment in their prime, while I knew it probably wasn't going to hit the high star ratings I had hoped for something above average considering the cast. It sadly didn't deliver and to add even more disappointment it was ended with what I can only describe as a BBC ending to a partially dramatised biography and well, that just put the final nail in the coffin for me.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/09/mrs-lowry-son-movie-review.html
BankofMarquis (1832 KP) rated Mission: Impossible - Fallout (2018) in Movies
Aug 1, 2018
Quite possibly, the best action film ever made
MISSION IMPOSSIBLE: FALLOUT just might be the best action movie I have ever seen.
Yes...it is that good.
The 6th entry in the MISSION IMPOSSIBLE franchise, this film stars, as usual, Tom Cruise as Ethan Hunt, part of the IMF, a secret government entity that takes on the impossible missions that the CIA (and other agencies) won't touch. He is joined, yet again, in this installment of the franchise by his "usual" team, Simon Pegg (Benji), Ving Rhames (Luther), Rebecca Ferguson (Ilse) and Alec Baldwin (IMF Director Hunley). It was fun to have "the band" back together again. They looked like they had a good time filming this and I had a good time watching it.
Jumping right in on the fun is Angela Bassett (BLACK PANTHER) as the head of the CIA, but doing more than just being a thorn in the side of Alec Baldwin. As well as Vanessa Kirby (THE CROWN) as the mysterious "White Widow" and, especially, Henry Cavill, who shows that he can do more than be DC's Superman.
And, finally, the franchise wisely brings back Sean Harris as "big bad" Solomon Lane (think Bond's arch-nemesis Blofeld). He proves to be, yet again, an able adversary for the IMF team.
The plot, of course, is somewhat convoluted, with twists, turns and double-crosses (by both the good and bad guys) throughout this film. If I have a quibble for this film, it is that they got a little "cute" with the plot twists - there was (perhaps) one or two too many "gotchas" - but that is just a quibble, for the plot gets us from point "A" to point "B" nicely.
And when I say "Point A" and "Point B", I mean action set piece "A" to action set piece "B" (and "C" and "D" and "E" and "F"...) - and boy are these action set pieces EXTRAORDINARY!
Director Christopher McQuarrie (he also Directed the previous film in this franchise, ROUGE NATION) is the first person to helm two of these films - and I think it is a smart choice for he established in Rogue Nation an ability to create smart, tense action, chase and fight sequences that are easy to follow and fun to watch.
Credit for most of this fun has to go to 55 year old (at the time of filming) Tom Cruise - looking every bit as fit and capable as a 35 year old Tom Cruise. He dives into the action sequences (literally) with gusto and proves more than capable of delivering the goods. Once again, he does a death-defying stunt that left me amazed.
But, what I really left the theater with was an appreciation for McQuarrie, Cruise and company for delivering an end sequence that earned the build up it was given. EVERY member of the company had something to do and the action in this endpiece was a step up of anything that had come before it - either in the Mission Impossible series, or in any other action flick.
If you are a fan of good, solid action films, MISSION IMPOSSIBLE: FALLOUT is one to not miss.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
Yes...it is that good.
The 6th entry in the MISSION IMPOSSIBLE franchise, this film stars, as usual, Tom Cruise as Ethan Hunt, part of the IMF, a secret government entity that takes on the impossible missions that the CIA (and other agencies) won't touch. He is joined, yet again, in this installment of the franchise by his "usual" team, Simon Pegg (Benji), Ving Rhames (Luther), Rebecca Ferguson (Ilse) and Alec Baldwin (IMF Director Hunley). It was fun to have "the band" back together again. They looked like they had a good time filming this and I had a good time watching it.
Jumping right in on the fun is Angela Bassett (BLACK PANTHER) as the head of the CIA, but doing more than just being a thorn in the side of Alec Baldwin. As well as Vanessa Kirby (THE CROWN) as the mysterious "White Widow" and, especially, Henry Cavill, who shows that he can do more than be DC's Superman.
And, finally, the franchise wisely brings back Sean Harris as "big bad" Solomon Lane (think Bond's arch-nemesis Blofeld). He proves to be, yet again, an able adversary for the IMF team.
The plot, of course, is somewhat convoluted, with twists, turns and double-crosses (by both the good and bad guys) throughout this film. If I have a quibble for this film, it is that they got a little "cute" with the plot twists - there was (perhaps) one or two too many "gotchas" - but that is just a quibble, for the plot gets us from point "A" to point "B" nicely.
And when I say "Point A" and "Point B", I mean action set piece "A" to action set piece "B" (and "C" and "D" and "E" and "F"...) - and boy are these action set pieces EXTRAORDINARY!
Director Christopher McQuarrie (he also Directed the previous film in this franchise, ROUGE NATION) is the first person to helm two of these films - and I think it is a smart choice for he established in Rogue Nation an ability to create smart, tense action, chase and fight sequences that are easy to follow and fun to watch.
Credit for most of this fun has to go to 55 year old (at the time of filming) Tom Cruise - looking every bit as fit and capable as a 35 year old Tom Cruise. He dives into the action sequences (literally) with gusto and proves more than capable of delivering the goods. Once again, he does a death-defying stunt that left me amazed.
But, what I really left the theater with was an appreciation for McQuarrie, Cruise and company for delivering an end sequence that earned the build up it was given. EVERY member of the company had something to do and the action in this endpiece was a step up of anything that had come before it - either in the Mission Impossible series, or in any other action flick.
If you are a fan of good, solid action films, MISSION IMPOSSIBLE: FALLOUT is one to not miss.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)