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Bob Mann (459 KP) rated The Invisible Man (2020) in Movies
Jan 9, 2021
Elisabeth Moss - excellent performance (1 more)
Slowly creeping tension - clever camera work
Have you seen "The Invisible Man"?
Cecilia Kass (Elisabeth Moss) is trapped in a highly controlling and violent relationship with technology mogul Adrian Griffin (Oliver Jackson-Cohen). Escaping from his fortress-like home, she lives in fear of his retribution. So she is much relieved, if a little surprised, at the report of his suicide. Now living with old friend James Lanier (Aldis Hodge) and his teenage daughter Sydney (Storm Reid), Cecilia can finally start to relax. But as strange things start to happen, is the ghost of Griffin back to haunt her? Or is it really all in her rapidly disintegrating mind, as her sister Emily (Harriet Dyer) and James suspect?
Australian writer/director Leigh Whannell is famous as the writer behind the "Saw" and "Insidious" franchises. So he knows a thing or two about crafting horror movies. And in this Blumhouse production, after a clever attention-grabbing opening, he really takes his time in building an understanding of Cecilia's mental state. When things start to happen, they happen so stealthily that I needed to hit the rewind button a couple of times (no cinema experience for this one I'm afraid). Cinematographer Stefan Duscio keeps slowly panning away from Cecilia across the room to show empty corridors before slowly panning back again. It's superbly effective and was comprehensively creeping me out!
When the set action pieces do occur then they are satisfactorily exciting, albeit wildly implausible. I did not see some of the "Surprises" coming, making them jolt-worthy. And the denouement really delivered for me, reminiscent of Hitchcock's style.
Now most famous for "Mad Men" and "The Handmaids Tale" on TV, Elisabeth Moss has delivered a range of impressive film performances including in "High Rise" and - as most closely related to this role - in "Girl, Interrupted" as mental patient Lisa. It's a star turn, no doubt about it.
This movie was intended by Universal to be part of the "Dark Universe" series. But the Tom Cruise flop "The Mummy" unfortunately put paid to that. Which is a great shame. If they'd started with this one, then they might have had a hit on their hands. With a post-credits "monkey" (there isn't one in this movie by the way) they could have lined up into the follow-up movie and started the ball rolling.
It's a rollicking action flick that had my attention throughout. However, the initial question it poses - haunting, 'all in the mind' or something else - gets clarified a little too early for me (and - note - is spoiled by the trailer), so the movie falls short of being a classic for that reason.
There's one aspect of the movie that really irritated me. And that is that there was no credit whatsoever for the idea of H.G. Wells that originated this story. There's a discussion of that here: since Wells died in 1946, his copyright will have expired on his works 70 years later. This is definitely NOT a retelling of his story, but in reusing the novel's title it would seem at least 'polite' to include a "Based on an idea by H.G. Wells" in the credits somewhere.
All in all, this is still a bit of a B-movie, but its a bloody good one! Utterly preposterous at times, and with decision-making that would feel at home within the Trump presidency, it's an entertaining rollercoaster of a movie. Definitely comes with a "recommended" from me and I'll look forward to a re-watch at some point.
For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/01/09/have-you-seen-the-invisible-man/ .
Australian writer/director Leigh Whannell is famous as the writer behind the "Saw" and "Insidious" franchises. So he knows a thing or two about crafting horror movies. And in this Blumhouse production, after a clever attention-grabbing opening, he really takes his time in building an understanding of Cecilia's mental state. When things start to happen, they happen so stealthily that I needed to hit the rewind button a couple of times (no cinema experience for this one I'm afraid). Cinematographer Stefan Duscio keeps slowly panning away from Cecilia across the room to show empty corridors before slowly panning back again. It's superbly effective and was comprehensively creeping me out!
When the set action pieces do occur then they are satisfactorily exciting, albeit wildly implausible. I did not see some of the "Surprises" coming, making them jolt-worthy. And the denouement really delivered for me, reminiscent of Hitchcock's style.
Now most famous for "Mad Men" and "The Handmaids Tale" on TV, Elisabeth Moss has delivered a range of impressive film performances including in "High Rise" and - as most closely related to this role - in "Girl, Interrupted" as mental patient Lisa. It's a star turn, no doubt about it.
This movie was intended by Universal to be part of the "Dark Universe" series. But the Tom Cruise flop "The Mummy" unfortunately put paid to that. Which is a great shame. If they'd started with this one, then they might have had a hit on their hands. With a post-credits "monkey" (there isn't one in this movie by the way) they could have lined up into the follow-up movie and started the ball rolling.
It's a rollicking action flick that had my attention throughout. However, the initial question it poses - haunting, 'all in the mind' or something else - gets clarified a little too early for me (and - note - is spoiled by the trailer), so the movie falls short of being a classic for that reason.
There's one aspect of the movie that really irritated me. And that is that there was no credit whatsoever for the idea of H.G. Wells that originated this story. There's a discussion of that here: since Wells died in 1946, his copyright will have expired on his works 70 years later. This is definitely NOT a retelling of his story, but in reusing the novel's title it would seem at least 'polite' to include a "Based on an idea by H.G. Wells" in the credits somewhere.
All in all, this is still a bit of a B-movie, but its a bloody good one! Utterly preposterous at times, and with decision-making that would feel at home within the Trump presidency, it's an entertaining rollercoaster of a movie. Definitely comes with a "recommended" from me and I'll look forward to a re-watch at some point.
For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/01/09/have-you-seen-the-invisible-man/ .
Bob Mann (459 KP) rated Live By Night (2017) in Movies
Sep 29, 2021
“Sleep by day…”.
Ben Affleck’s new movie could best be described as “sprawling”. In both directing and writing the screenplay (based on a novel by Dennis Lehane), Affleck has aimed for a “Godfather” style gangster epic and missed: not missed by a country mile, but missed nonetheless.
Morally bankrupted by his experiences in the trenches, Joe Coughlin (Affleck) returns to Boston to pick and choose which social rules he wants to follow. Not sociopathic per se, as he has a strong personal code of conduct, but Coughlin turns to robbery walking a delicate path between the warring mob factions of the Irish community, led by Albert White (the excellent Robert Glenister from TV’s “Hustle”), and the Italian community, led by Maso Pescatore (Remo Girone). Trying to keep him out of jail is his father (“Harry Potter”’s Brendan Gleeson) who – usefully – is the Deputy Police Chief. Life gets complicated when he falls in love with White’s moll, Emma Gould (Sienna Miller). The scene is set for a drama stretching from Boston to the hot and steamy Everglades over a period of the next twenty years.
Although a watchable popcorn film, the choppy episodic nature of the movie is hugely frustrating, with no compelling story arc to glue all of the disparate parts together. The (often very violent) action scenes are very well done and exciting but as a viewer you don’t feel invested in a ‘journey’ from the beginning of the film to the (unsatisfactory) ending. In my experience it’s never a good sign when the writer considers it necessary to add a voiceover to the soundtrack, and here Affleck mutters truisms about his thoughts and motives that irritate more than illuminate.
The sheer volume of players in the piece (there are about three film’s worth in here) and the resulting minimal screen time given to each allows no time for character development. Unfortunately the result is that you really care very little about whether people live or die and big plot developments land as rather an “oh” than an “OH!”.
Affleck puts in a great turn as the autistic central character whose condition results in a cold, calculating demeanor and a complete lack of emotion reflecting on his face. Oh, hang on… no, wait a minute… sorry… I’ve got the wrong film…. I’m thinking about “The Accountant”. I don’t know whether he filmed these films in parallel. I generally enjoy Ben Affleck’s work (he was excellent in “The Town”) but for 95% of this film his part could have been completed by a burly extra with an Affleck mask on. In terms of acting range, his facial muscles barely get to a “2” on the scale. Given the double problem that he is barely credible as the “young man” returning mentally wounded from the trenches, then in my opinion he would have been better to have focused on the writing and directing and found a lead of the likes of an Andrew Garfield to fill Coughlin’s shoes.
That’s not to say there is not some good acting present in the rest of the cast’s all too brief supporting roles. Elle Fanning (“Trumbo”, “Maleficent”) in particular shines as the Southern belle Loretta Figgis: a religious zealot driving her police chief father (Chris Cooper, “The Bourne Identity”) to distraction. Cooper also delivers a star turn as the moral but pragmatic law-man.
Sienna Miller (“Foxcatcher”) delivers a passable Cork accent and does her best to develop some believable chemistry with the rock-like Affleck. Zoe Saldana (“Star Trek”) is equally effective as a Cuban humanitarian.
In summary, it’s sprawlingly watchable… but overall a disappointment, with Affleck over-reaching. One day we surely will get a gangster film the likes of another “Godfather”, “Goodfellas” or “Untouchables”. Although this has its moments, unfortunately it’s more towards the “Public Enemies” end of the genre spectrum.
Morally bankrupted by his experiences in the trenches, Joe Coughlin (Affleck) returns to Boston to pick and choose which social rules he wants to follow. Not sociopathic per se, as he has a strong personal code of conduct, but Coughlin turns to robbery walking a delicate path between the warring mob factions of the Irish community, led by Albert White (the excellent Robert Glenister from TV’s “Hustle”), and the Italian community, led by Maso Pescatore (Remo Girone). Trying to keep him out of jail is his father (“Harry Potter”’s Brendan Gleeson) who – usefully – is the Deputy Police Chief. Life gets complicated when he falls in love with White’s moll, Emma Gould (Sienna Miller). The scene is set for a drama stretching from Boston to the hot and steamy Everglades over a period of the next twenty years.
Although a watchable popcorn film, the choppy episodic nature of the movie is hugely frustrating, with no compelling story arc to glue all of the disparate parts together. The (often very violent) action scenes are very well done and exciting but as a viewer you don’t feel invested in a ‘journey’ from the beginning of the film to the (unsatisfactory) ending. In my experience it’s never a good sign when the writer considers it necessary to add a voiceover to the soundtrack, and here Affleck mutters truisms about his thoughts and motives that irritate more than illuminate.
The sheer volume of players in the piece (there are about three film’s worth in here) and the resulting minimal screen time given to each allows no time for character development. Unfortunately the result is that you really care very little about whether people live or die and big plot developments land as rather an “oh” than an “OH!”.
Affleck puts in a great turn as the autistic central character whose condition results in a cold, calculating demeanor and a complete lack of emotion reflecting on his face. Oh, hang on… no, wait a minute… sorry… I’ve got the wrong film…. I’m thinking about “The Accountant”. I don’t know whether he filmed these films in parallel. I generally enjoy Ben Affleck’s work (he was excellent in “The Town”) but for 95% of this film his part could have been completed by a burly extra with an Affleck mask on. In terms of acting range, his facial muscles barely get to a “2” on the scale. Given the double problem that he is barely credible as the “young man” returning mentally wounded from the trenches, then in my opinion he would have been better to have focused on the writing and directing and found a lead of the likes of an Andrew Garfield to fill Coughlin’s shoes.
That’s not to say there is not some good acting present in the rest of the cast’s all too brief supporting roles. Elle Fanning (“Trumbo”, “Maleficent”) in particular shines as the Southern belle Loretta Figgis: a religious zealot driving her police chief father (Chris Cooper, “The Bourne Identity”) to distraction. Cooper also delivers a star turn as the moral but pragmatic law-man.
Sienna Miller (“Foxcatcher”) delivers a passable Cork accent and does her best to develop some believable chemistry with the rock-like Affleck. Zoe Saldana (“Star Trek”) is equally effective as a Cuban humanitarian.
In summary, it’s sprawlingly watchable… but overall a disappointment, with Affleck over-reaching. One day we surely will get a gangster film the likes of another “Godfather”, “Goodfellas” or “Untouchables”. Although this has its moments, unfortunately it’s more towards the “Public Enemies” end of the genre spectrum.
Charmed & Dangerous
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Magic takes many forms. From malignant hexes to love charms gone amok, you’ll find a vast array of...
Urban Fantasy Paranormal MM Romance
Movie Metropolis (309 KP) rated The Amazing Spider-Man 2 (2014) in Movies
Jun 11, 2019
A film that never needed to exist
Marc Webb’s first attempt at being behind the lens of a Marvel film was 2012’s The Amazing Spider-Man. Just five years after Sam Raimi concluded his trilogy with Tobey Maguire in the tight fitting suit, Andrew Garfield donned the iconic costume in a film that was good if a little unnecessary. Here, Webb returns just two years later with The Amazing Spider-Man 2, but can it prove its worth?
Thankfully yes. Amazing Spider-Man 2 is not only the best Spider-Man film to date, but one of Marvel’s greatest offerings despite some flaws in its production.
Andrew Garfield and Emma Stone return as Peter Parker and Gwen Stacey respectively as they battle a whole host of new foes in a movie that is loud, frequently violent and massively long.
Peter is still trying to piece together the fate of his parents as Aunt May, played excellently by Sally Field, continues to keep the truth from him. However, there’s no time for anguish as the villains come thick-and-fast.
Jamie Foxx, Paul Giamatti and a superb Dane DeHaan are all present to give Spider-Man, and his alter ego, a good kicking. A brilliantly unrestrained Foxx plays Max Dillon who inexplicably becomes one of the title characters best on-screen foes, Electro.
Much of the criticism of Raimi’s 2007 blockbuster Spider-Man 3 was given to the inclusion of too many plots, sub-plots and villains. Therefore many fans and critics thought the case would be similar here, especially considering Electro, Green Goblin and Rhino were all billed to appear.
The-Amazing-Spider-Man-2-New-Poster-spider-man-35222096-1024-1421
Mercifully, Webb restrains himself and leaves much of the film’s running time to Electro while Rhino (Giamatti) and Green Goblin (DeHaan) are merely given glorified cameos; setting the characters up for a larger part in the inevitable Amazing Spider-Man 3 and 4.
The special effects are on a whole new level to what we have seen previously. Apart from a few lapses towards the climatic finale, where things can begin to look like a video game, the film looks absolutely fantastic. The soaring shots of Spider-Man swinging his way across New York landmarks are exceptional and Webb’s use of slow-motion frames bring home the spider like senses Parker has been gifted with.
Acting performances are also sublime. Parker is a much better Spider-Man than Maguire was in the previous films. His geeky, timid persona is brilliantly juxtaposed with the superhero’s more arrogant attitude. Yet he never becomes irritating, a la Spider-Man 3. Emma Stone’s portrayal of love interest Gwen Stacey is wonderful and she does a cracking job of making the pair have real chemistry despite how difficult it is for this to create – though it must always help when you are partnered in real life.
The real joy here though is Dane DeHaan as Harry Osborn/Green Goblin. His performance is the complete opposite of James Franco’s take, he makes Harry a more vulnerable young man, clearly damaged by previous events in his life, as well as the ones which will no doubt occur in the future.
Unfortunately, the film’s running time is a real headache. At 142 minutes, you begin to check your watch as there are numerous points where you believe it could end – though it never does. Thankfully, this is a minor issue in a film which rarely lets up in its riveting pace.
Overall, The Amazing Spider-Man 2 is a film which never really needed to exist, certainly not for another ten years or so. It is clear in some respects that its production has been rushed to capitalise on the ever-popular Marvel series, but in others it makes perfect sense to release it when the story is still fresh in people’s minds.
Despite some clunky special effects in the finale and its gargantuan length, Amazing Spider-Man 2 boasts excellent performances and a humorous and exciting story, and as such is one of Marvel’s best offerings to date, only beaten by Avengers Assemble. The only question is, was it all necessary?
https://moviemetropolis.net/2014/04/19/the-amazing-spider-man-2-review/
Thankfully yes. Amazing Spider-Man 2 is not only the best Spider-Man film to date, but one of Marvel’s greatest offerings despite some flaws in its production.
Andrew Garfield and Emma Stone return as Peter Parker and Gwen Stacey respectively as they battle a whole host of new foes in a movie that is loud, frequently violent and massively long.
Peter is still trying to piece together the fate of his parents as Aunt May, played excellently by Sally Field, continues to keep the truth from him. However, there’s no time for anguish as the villains come thick-and-fast.
Jamie Foxx, Paul Giamatti and a superb Dane DeHaan are all present to give Spider-Man, and his alter ego, a good kicking. A brilliantly unrestrained Foxx plays Max Dillon who inexplicably becomes one of the title characters best on-screen foes, Electro.
Much of the criticism of Raimi’s 2007 blockbuster Spider-Man 3 was given to the inclusion of too many plots, sub-plots and villains. Therefore many fans and critics thought the case would be similar here, especially considering Electro, Green Goblin and Rhino were all billed to appear.
The-Amazing-Spider-Man-2-New-Poster-spider-man-35222096-1024-1421
Mercifully, Webb restrains himself and leaves much of the film’s running time to Electro while Rhino (Giamatti) and Green Goblin (DeHaan) are merely given glorified cameos; setting the characters up for a larger part in the inevitable Amazing Spider-Man 3 and 4.
The special effects are on a whole new level to what we have seen previously. Apart from a few lapses towards the climatic finale, where things can begin to look like a video game, the film looks absolutely fantastic. The soaring shots of Spider-Man swinging his way across New York landmarks are exceptional and Webb’s use of slow-motion frames bring home the spider like senses Parker has been gifted with.
Acting performances are also sublime. Parker is a much better Spider-Man than Maguire was in the previous films. His geeky, timid persona is brilliantly juxtaposed with the superhero’s more arrogant attitude. Yet he never becomes irritating, a la Spider-Man 3. Emma Stone’s portrayal of love interest Gwen Stacey is wonderful and she does a cracking job of making the pair have real chemistry despite how difficult it is for this to create – though it must always help when you are partnered in real life.
The real joy here though is Dane DeHaan as Harry Osborn/Green Goblin. His performance is the complete opposite of James Franco’s take, he makes Harry a more vulnerable young man, clearly damaged by previous events in his life, as well as the ones which will no doubt occur in the future.
Unfortunately, the film’s running time is a real headache. At 142 minutes, you begin to check your watch as there are numerous points where you believe it could end – though it never does. Thankfully, this is a minor issue in a film which rarely lets up in its riveting pace.
Overall, The Amazing Spider-Man 2 is a film which never really needed to exist, certainly not for another ten years or so. It is clear in some respects that its production has been rushed to capitalise on the ever-popular Marvel series, but in others it makes perfect sense to release it when the story is still fresh in people’s minds.
Despite some clunky special effects in the finale and its gargantuan length, Amazing Spider-Man 2 boasts excellent performances and a humorous and exciting story, and as such is one of Marvel’s best offerings to date, only beaten by Avengers Assemble. The only question is, was it all necessary?
https://moviemetropolis.net/2014/04/19/the-amazing-spider-man-2-review/
Heather Cranmer (2721 KP) rated Infinite Sky (Infinite Sky, #1) in Books
Jun 7, 2018
(This review can also be found on my blog (<a href="http://themisadventuresofatwentysomething.blogspot.co.uk">The (Mis)Adventures of a Twenty-Something Year Old Girl</a>).
When I first heard of Infinite Sky by C.J. Flood, I knew it was a book that I was going to have to read as soon as possible. Firstly, because I have a thing for Irish travellers. I find them fascinating. Secondly, it sounded like a really good read. I must say that I fell in love with this story.
Infinite Sky is a coming of age story told by thirteen year old Iris. Iris' mother has left her, her brother, and her dad behind so she can go to traveling. Iris' brother, Sam, takes this extremely hard and starts to become a moody, violent person. To top it off, travellers, or gypsies as Iris's dad and brother call them, have moved into their field. Sam and Iris' dad are enraged about this, but Iris in intrigued especially when she catches a glimpse of fourteen year old Trick. Day by day, Trick and Iris spend time together and just talking about life. Irish begins to fall in love with Trick. However, Sam and Iris' dad aren't going to make it easy for the two love birds to spend time together. Due to prejudices, someone close to Iris ends up dead.
I love the title of this book. Infinite Sky sounds so innocent and makes me think of a world of possibilities. For a middle grade/young adult book, I don't think the title could've been any better.
I do like the cover of Infinite Sky. It has a sort of classic look about it. It looks like it'd be a happy book, but after reading the synopsis, we know it's not all full of sunshine and rainbows, or in this case, cornfields and birds. I really do hope the author sticks to this cover as I think adding or taking anything away from it would ruin it.
The world building/setting of Infinite Sky was done very well. The story mostly takes place in a cornfield and around it. C.J. Flood makes the world of Infinite Sky come alive with her writing. I was able to clearly picture every bit of the story in my mind quite easily.
Pacing wise, the story starts out just a bit slow but quickly, the pacing picks up, and the story is very easy to follow. It's not too fast and not too slow, but stays at a steady pace throughout. Sometimes I did feel as if the chapters ended rather abruptly though.
The dialogue/wording in this story is beautiful. C.J. Flood has a fine gift when it comes to her writing. I was really happy that Irish spoke like a thirteen year old girl as well as the other characters speaking like their age instead of sounding older. I loved how the dialogue between Trick and Iris didn't come across as being forced. It sounded just like two young teens having a conversation.
The characters felt very real to me. Iris speaks and acts like a thirteen year old girl. She has a somewhat innocent quality about her that is quite subtle in the book but still apparent. Trick is more street-wise and cares a lot about Iris. Sam is a chav (someone who dresses a certain way and is usually just a menace to society), but there is back story about why he became one that is quite heart wrenching.
The ending of the story is quite an emotional one, and C.J. Flood does a fantastic job in her writing to pull at the reader's heart strings. I felt like crying after reading how Iris is feeling.
Over all, Infinite Sky is a sweet coming of age story that is beautifully written and tugs at your heartstrings. This is one of those books that is destined and should be a classic.
I'd recommend this book to everyone aged 12+ as it's a really little gem of a book.
Infinite Sky by C.J. Flood gets a 4.5 out of 5 from me.
When I first heard of Infinite Sky by C.J. Flood, I knew it was a book that I was going to have to read as soon as possible. Firstly, because I have a thing for Irish travellers. I find them fascinating. Secondly, it sounded like a really good read. I must say that I fell in love with this story.
Infinite Sky is a coming of age story told by thirteen year old Iris. Iris' mother has left her, her brother, and her dad behind so she can go to traveling. Iris' brother, Sam, takes this extremely hard and starts to become a moody, violent person. To top it off, travellers, or gypsies as Iris's dad and brother call them, have moved into their field. Sam and Iris' dad are enraged about this, but Iris in intrigued especially when she catches a glimpse of fourteen year old Trick. Day by day, Trick and Iris spend time together and just talking about life. Irish begins to fall in love with Trick. However, Sam and Iris' dad aren't going to make it easy for the two love birds to spend time together. Due to prejudices, someone close to Iris ends up dead.
I love the title of this book. Infinite Sky sounds so innocent and makes me think of a world of possibilities. For a middle grade/young adult book, I don't think the title could've been any better.
I do like the cover of Infinite Sky. It has a sort of classic look about it. It looks like it'd be a happy book, but after reading the synopsis, we know it's not all full of sunshine and rainbows, or in this case, cornfields and birds. I really do hope the author sticks to this cover as I think adding or taking anything away from it would ruin it.
The world building/setting of Infinite Sky was done very well. The story mostly takes place in a cornfield and around it. C.J. Flood makes the world of Infinite Sky come alive with her writing. I was able to clearly picture every bit of the story in my mind quite easily.
Pacing wise, the story starts out just a bit slow but quickly, the pacing picks up, and the story is very easy to follow. It's not too fast and not too slow, but stays at a steady pace throughout. Sometimes I did feel as if the chapters ended rather abruptly though.
The dialogue/wording in this story is beautiful. C.J. Flood has a fine gift when it comes to her writing. I was really happy that Irish spoke like a thirteen year old girl as well as the other characters speaking like their age instead of sounding older. I loved how the dialogue between Trick and Iris didn't come across as being forced. It sounded just like two young teens having a conversation.
The characters felt very real to me. Iris speaks and acts like a thirteen year old girl. She has a somewhat innocent quality about her that is quite subtle in the book but still apparent. Trick is more street-wise and cares a lot about Iris. Sam is a chav (someone who dresses a certain way and is usually just a menace to society), but there is back story about why he became one that is quite heart wrenching.
The ending of the story is quite an emotional one, and C.J. Flood does a fantastic job in her writing to pull at the reader's heart strings. I felt like crying after reading how Iris is feeling.
Over all, Infinite Sky is a sweet coming of age story that is beautifully written and tugs at your heartstrings. This is one of those books that is destined and should be a classic.
I'd recommend this book to everyone aged 12+ as it's a really little gem of a book.
Infinite Sky by C.J. Flood gets a 4.5 out of 5 from me.
Daniel Boyd (1066 KP) rated BlacKkKlansman (2018) in Movies
Oct 1, 2018 (Updated Oct 2, 2018)
Brilliant performances by the entire cast (1 more)
Funny, while still being relevant and sending a serious message
Spike Lee's Best In Years
BlackkKlansman released while I was on holiday, so after playing a bit of catchup at my local cinema, I eventually got around to seeing this film that I was looking forward to ever since seeing the first trailer for it. It lived up to my expectations and I really enjoyed it. Also, just a heads up; I usually don't like to get political in movie reviews, but I feel that with a film as politically charged as this one, it makes it inevitable to get around, so there may be some stuff in here that you disagree with.
The movie worked in several different ways, it definitely worked as a comedy and had me laughing raucously at certain points and then it would drop an important and relevant point on you and suddenly things wouldn't seem so funny any more. All of a sudden, these laughably ignorant racists suddenly became a very real threat, which I don't think was an accident in paralleling how Lee feels about a good amount of modern day Americans like Donald Trump. Remember when he first announced that he was running for office and everybody, (including the current president at that time,) laughed at him? Now he is the most powerful man in the world and poses a very real threat to minorities in the US. I thought that this was a very clever, subtle way to take a shot without being too blatant.
Then there was a slightly more obvious shot at him when characters are discussing a man filled with hate potentially working his way into power and getting the majority of the American public on his side and how awful that would be. Although this particular dig is way more obvious, it still didn't bother me too much and I accepted it as a filmmaker using his platform to send a message to someone that he morally disagrees with.
The final dig was a step too far for me. During a phone conversation between David Duke and Ron Stallworth, Duke says something about getting rid of non-whites to "make America great again." It was so heavy handed that the characters onscreen might as well have turned around and winked at the camera. Please don't get me wrong, I think that Donald Trump is a scumbag and am totally fine with Lee taking a couple of shots at him, but I much preferred the more subtle undertones that he sent his way earlier in the film to this blatantly obvious, slightly cringey callout.
I did enjoy Lee's references to Blaxploitation films of the 70's and I liked the whole aesthetic that this movie had. The score was brilliant and the cast did a great job, the performance that stayed with me the most after the film, was Corey Hawkins monologue as Kwame Ture. He only appears in one scene in the film, but his speech, (in which I felt he strongly channelled Denzel,) was mesmerising and electrifying to watch.
The way that Spike Lee chose to end this movie has stirred some controversy, but I found it to be incredibly powerful and moving. It really sent home the message that this kind of intense, despicable hatred isn't just something that was around in the 70's and 80's, it is something that is still sadly prevalent and happening in today's society and we have people in power, like Trump, who is willing to defend and stand by these people and their violent, hateful behaviour. It was also a fitting tribute to Heather Heyer who was killed when a car crashed into a crowd of people who had been peacefully protesting the Unite the Right rally in Charlottesville, Virginia one-year prior to this film's release.
Overall, this is a funny, entertaining, uncomfortable and anger-inducing film and all of these emotion are equally relevant. I also feel that this movie does exactly what it intends to on a moral level, whether you agree with the ideals portrayed or not, Lee does a terrific job in turning a period piece movie into a painfully relevant message for modern audiences.
The movie worked in several different ways, it definitely worked as a comedy and had me laughing raucously at certain points and then it would drop an important and relevant point on you and suddenly things wouldn't seem so funny any more. All of a sudden, these laughably ignorant racists suddenly became a very real threat, which I don't think was an accident in paralleling how Lee feels about a good amount of modern day Americans like Donald Trump. Remember when he first announced that he was running for office and everybody, (including the current president at that time,) laughed at him? Now he is the most powerful man in the world and poses a very real threat to minorities in the US. I thought that this was a very clever, subtle way to take a shot without being too blatant.
Then there was a slightly more obvious shot at him when characters are discussing a man filled with hate potentially working his way into power and getting the majority of the American public on his side and how awful that would be. Although this particular dig is way more obvious, it still didn't bother me too much and I accepted it as a filmmaker using his platform to send a message to someone that he morally disagrees with.
The final dig was a step too far for me. During a phone conversation between David Duke and Ron Stallworth, Duke says something about getting rid of non-whites to "make America great again." It was so heavy handed that the characters onscreen might as well have turned around and winked at the camera. Please don't get me wrong, I think that Donald Trump is a scumbag and am totally fine with Lee taking a couple of shots at him, but I much preferred the more subtle undertones that he sent his way earlier in the film to this blatantly obvious, slightly cringey callout.
I did enjoy Lee's references to Blaxploitation films of the 70's and I liked the whole aesthetic that this movie had. The score was brilliant and the cast did a great job, the performance that stayed with me the most after the film, was Corey Hawkins monologue as Kwame Ture. He only appears in one scene in the film, but his speech, (in which I felt he strongly channelled Denzel,) was mesmerising and electrifying to watch.
The way that Spike Lee chose to end this movie has stirred some controversy, but I found it to be incredibly powerful and moving. It really sent home the message that this kind of intense, despicable hatred isn't just something that was around in the 70's and 80's, it is something that is still sadly prevalent and happening in today's society and we have people in power, like Trump, who is willing to defend and stand by these people and their violent, hateful behaviour. It was also a fitting tribute to Heather Heyer who was killed when a car crashed into a crowd of people who had been peacefully protesting the Unite the Right rally in Charlottesville, Virginia one-year prior to this film's release.
Overall, this is a funny, entertaining, uncomfortable and anger-inducing film and all of these emotion are equally relevant. I also feel that this movie does exactly what it intends to on a moral level, whether you agree with the ideals portrayed or not, Lee does a terrific job in turning a period piece movie into a painfully relevant message for modern audiences.
Chris Sawin (602 KP) rated Book of Blood (2008) in Movies
Jun 20, 2019
"The dead have highways. Highways that lead to intersections and intersections that spill into our world. And if you find yourself at one of those intersections, you should stop and you should listen because the dead have stories to tell."
Mary Florescu, writer, teacher, and overall expert of the paranormal, is still looking for the distinct evidence of supernatural occurences. A house catches her eye that has been on the market since the daughter of the couple living there before had been murdered. It's said the original homeowner was thrown against the wall by an invisible force so hard that shards of his broken bones pierced his lungs and he choked to death on his own blood. During each incident, the message, "Don't mock us," was found written in blood on the closet doors. Mary decides to move into the house to find proof of the supernatural, bringing an audio/video technician, Reg Fuller, to help document anything they find. A new student, Simon McNeal, transfers into Mary's class. He seems to have a special gift related to the paranormal and is brought into the house to help work with Mary and Reg on the project. Strange occurences seem to begin immediately and only get more violent as they occur. But as things progress, the relationship between Mary and Simon turns physical and suspicious evidence is found in Simon's bag that point to him being a fake. Is the house actually "haunted," or is Simon playing everyone for a fool?
I'm a fairly big fan of Clive Barker's work. I've loved the books and stories (Books of Blood Vol. 1-3, Mister B. Gone, The Hellbound Heart) of his that I've read and several of his films (Hellraiser, Midnight Meat Train) are some of the best the horror genre has to offer. Midnight Meat Train was probably the best horror film to come out of last year, so my expectations were high when I heard about this film and saw the trailer. This was one of my most anticipated horror films of the year even though it seemed to get the short end of the stick with its release much like what happened with Midnight Meat Train. I can tell you that Book of Blood is a good watch, but it may not be what you're expecting.
Book of Blood has its bloody moments, but it's not an all out gorefest. It's actually more of a supernatural thriller. The director, John Harrison, described the film as being more along the lines of films like The Others and The Orphanage. It relies more on mood and atmosphere rather than blood and guts splattering all over your face, which isn't a bad thing at all if done correctly. Book of Blood almost pulls that aspect of the film flawlessly. I say, "almost," because certain lines of dialogue ("I promise we will listen and I will tell your stories to the world.") and a few of the things that happened in the final act of the film (steel briefcase...it'll make sense when you see it) seem a bit cheesy, but may sit better with me on repeat viewings.
The film actually reminded me of Hellraiser quite a bit throughout the film. Other than Doug Bradley's brief cameo (if you blink, you'll probably miss him), the opening scene of when Reg and Mary go into the room where everything happened just reminds me of Frank staying in the attic in Hellraiser. Hellraiser is one of my favorite horror films, so the brief nod to the film (whether intentional or not) was very welcome to me.
My main concern with Book of Blood was how they were going to turn a short story that was originally just an introduction to the actual Books of Blood by Clive Barker into a full length film. The concern wound up being for nothing as Book of Blood met nearly all of my expectations and was extremely faithful to the original material while bringing in elements from another one of his stories called, "On Jerusalem Street." The story fleshes out nicely and the acting is good, for the most part. I think the perfectionist in me kept me from rating this any higher, but I'd definitely recommend it as it's a worthy addition to any avid horror movie enthusiast's collection.
Mary Florescu, writer, teacher, and overall expert of the paranormal, is still looking for the distinct evidence of supernatural occurences. A house catches her eye that has been on the market since the daughter of the couple living there before had been murdered. It's said the original homeowner was thrown against the wall by an invisible force so hard that shards of his broken bones pierced his lungs and he choked to death on his own blood. During each incident, the message, "Don't mock us," was found written in blood on the closet doors. Mary decides to move into the house to find proof of the supernatural, bringing an audio/video technician, Reg Fuller, to help document anything they find. A new student, Simon McNeal, transfers into Mary's class. He seems to have a special gift related to the paranormal and is brought into the house to help work with Mary and Reg on the project. Strange occurences seem to begin immediately and only get more violent as they occur. But as things progress, the relationship between Mary and Simon turns physical and suspicious evidence is found in Simon's bag that point to him being a fake. Is the house actually "haunted," or is Simon playing everyone for a fool?
I'm a fairly big fan of Clive Barker's work. I've loved the books and stories (Books of Blood Vol. 1-3, Mister B. Gone, The Hellbound Heart) of his that I've read and several of his films (Hellraiser, Midnight Meat Train) are some of the best the horror genre has to offer. Midnight Meat Train was probably the best horror film to come out of last year, so my expectations were high when I heard about this film and saw the trailer. This was one of my most anticipated horror films of the year even though it seemed to get the short end of the stick with its release much like what happened with Midnight Meat Train. I can tell you that Book of Blood is a good watch, but it may not be what you're expecting.
Book of Blood has its bloody moments, but it's not an all out gorefest. It's actually more of a supernatural thriller. The director, John Harrison, described the film as being more along the lines of films like The Others and The Orphanage. It relies more on mood and atmosphere rather than blood and guts splattering all over your face, which isn't a bad thing at all if done correctly. Book of Blood almost pulls that aspect of the film flawlessly. I say, "almost," because certain lines of dialogue ("I promise we will listen and I will tell your stories to the world.") and a few of the things that happened in the final act of the film (steel briefcase...it'll make sense when you see it) seem a bit cheesy, but may sit better with me on repeat viewings.
The film actually reminded me of Hellraiser quite a bit throughout the film. Other than Doug Bradley's brief cameo (if you blink, you'll probably miss him), the opening scene of when Reg and Mary go into the room where everything happened just reminds me of Frank staying in the attic in Hellraiser. Hellraiser is one of my favorite horror films, so the brief nod to the film (whether intentional or not) was very welcome to me.
My main concern with Book of Blood was how they were going to turn a short story that was originally just an introduction to the actual Books of Blood by Clive Barker into a full length film. The concern wound up being for nothing as Book of Blood met nearly all of my expectations and was extremely faithful to the original material while bringing in elements from another one of his stories called, "On Jerusalem Street." The story fleshes out nicely and the acting is good, for the most part. I think the perfectionist in me kept me from rating this any higher, but I'd definitely recommend it as it's a worthy addition to any avid horror movie enthusiast's collection.
Lee (2222 KP) rated Ralph Breaks the Internet: Wreck-It Ralph 2 (2018) in Movies
Dec 12, 2018
Imaginative portrayal of the internet (2 more)
Ralph and Vanellope
Good positive messages throughout
Enjoyable Sequel
I cannot believe it's been 6 years since we last saw Ralph and Vanellope! And when we join them again, they're still in the same arcade, right where we left them. By day carrying out their respective gaming duties, by night socialising with the other arcade characters and drinking together in Tappers bar. They seem happy and content with life, although Vanellope is beginning to feel that there's more to life than the same old Sugar Rush races all day every day.
In an attempt to help his friend and spice things up for her, Ralph decides to smash a new race course through the Sugar Rush landscape. But things don't go quite according to plan, resulting in a broken steering wheel on the arcade machine. Unfortunately, the company responsible for making that machine is no longer in business so parts for it aren't readily available, or too expensive to buy online, so the plug gets pulled on the machine. With the future of the game in jeopardy, and with the Sugar Rush inhabitants having to find new homes with the other arcade residents, Ralph and Vanellope decide to try and help. The arcade has just had a Wi-fi router plugged in, and they overheard one of the kids in the arcade earlier talking about the steering wheel being available online on some site called eBoy? So, they decide to go investigate this thing called the internet.
I've seen a few reviews that draw comparisons to this movie and with 'Ready Player One' from earlier this year. As we entered the Oasis of Ready Player One, we were treated to an amazing visual onslaught of wonderful imagery and instantly recognisable characters. And, as Ralph and Vanellope enter the internet, it's a similarly enjoyable experience. Recognisable brands and websites are everywhere you look, either as buildings or with their concepts imaginatively represented in some form. Twitter birds fly around, characters force suspicious looking spam adverts in your face while busy web traffic is everywhere, constantly being directed to its next destination. Ralph and Vanellope eventually find their way to eBay, where the steering wheel they need is currently being auctioned, but they don't really understand the bidding process and end up winning it for more money than they can possibly pay. They then set about finding a way to get rich quick so that they can pay for the wheel and get it shipped to the arcade before the game gets removed for scrap. Their journey takes them to an online game called 'Slaughter Race', a violent racing game featuring skilled racer Shank (voiced by Gal Gadot), a world which immediately excites racing fiend Vanellope, who feels right at home.
It's great to see the characters of Ralph and Vanellope back on our screens. Ralph is still very funny and Vanellope is still extremely cute! There are also a large number of sections of the movie which work very well and are extremely enjoyable. Aside from the initial introduction to the internet, and the whole Slaughter Race segment, probably the most enjoyable portion is the visit to Disney and the Disney princesses, which received such a big reaction when featured in the various trailers for the movie. And we don't just get the princesses either, we also get to see Marvel and Star Wars characters too! Another chance to scour the screen to try and spot background characters, and a reminder that Disney is in fact slowly taking over the world!
Towards the end of the movie I felt that things weren't so interesting and enjoyable, with a lengthy segment involving a virus and how it spreads and manifests itself, threatening the whole internet. But that's a minor negative from me in what is overall a hugely enjoyable sequel. There are also a number of very strong messages throughout, from the Disney princesses and the way they act, to the way that internet negativity is portrayed. I'm not sure of the longevity of this movie though - after all, at the speed the internet develops these days, how many of the sites or concepts featured are going to still be around or even relevant in another 6 years time?
In an attempt to help his friend and spice things up for her, Ralph decides to smash a new race course through the Sugar Rush landscape. But things don't go quite according to plan, resulting in a broken steering wheel on the arcade machine. Unfortunately, the company responsible for making that machine is no longer in business so parts for it aren't readily available, or too expensive to buy online, so the plug gets pulled on the machine. With the future of the game in jeopardy, and with the Sugar Rush inhabitants having to find new homes with the other arcade residents, Ralph and Vanellope decide to try and help. The arcade has just had a Wi-fi router plugged in, and they overheard one of the kids in the arcade earlier talking about the steering wheel being available online on some site called eBoy? So, they decide to go investigate this thing called the internet.
I've seen a few reviews that draw comparisons to this movie and with 'Ready Player One' from earlier this year. As we entered the Oasis of Ready Player One, we were treated to an amazing visual onslaught of wonderful imagery and instantly recognisable characters. And, as Ralph and Vanellope enter the internet, it's a similarly enjoyable experience. Recognisable brands and websites are everywhere you look, either as buildings or with their concepts imaginatively represented in some form. Twitter birds fly around, characters force suspicious looking spam adverts in your face while busy web traffic is everywhere, constantly being directed to its next destination. Ralph and Vanellope eventually find their way to eBay, where the steering wheel they need is currently being auctioned, but they don't really understand the bidding process and end up winning it for more money than they can possibly pay. They then set about finding a way to get rich quick so that they can pay for the wheel and get it shipped to the arcade before the game gets removed for scrap. Their journey takes them to an online game called 'Slaughter Race', a violent racing game featuring skilled racer Shank (voiced by Gal Gadot), a world which immediately excites racing fiend Vanellope, who feels right at home.
It's great to see the characters of Ralph and Vanellope back on our screens. Ralph is still very funny and Vanellope is still extremely cute! There are also a large number of sections of the movie which work very well and are extremely enjoyable. Aside from the initial introduction to the internet, and the whole Slaughter Race segment, probably the most enjoyable portion is the visit to Disney and the Disney princesses, which received such a big reaction when featured in the various trailers for the movie. And we don't just get the princesses either, we also get to see Marvel and Star Wars characters too! Another chance to scour the screen to try and spot background characters, and a reminder that Disney is in fact slowly taking over the world!
Towards the end of the movie I felt that things weren't so interesting and enjoyable, with a lengthy segment involving a virus and how it spreads and manifests itself, threatening the whole internet. But that's a minor negative from me in what is overall a hugely enjoyable sequel. There are also a number of very strong messages throughout, from the Disney princesses and the way they act, to the way that internet negativity is portrayed. I'm not sure of the longevity of this movie though - after all, at the speed the internet develops these days, how many of the sites or concepts featured are going to still be around or even relevant in another 6 years time?
Lee (2222 KP) rated Once Upon a Time in Hollywood (2019) in Movies
Aug 16, 2019
Quentin Tarantino is known for his lengthy, self-indulgent movies - some of which I've loved, some not so much. Once Upon a Time in Hollywood is a nostalgic homage to 1960s Hollywood and, at 2 hours 41 minutes, it is certainly lengthy and self-indulgent. But, despite some outstanding performances, it's probably at least an hour too long, and proved to be a real test of my patience and endurance.
Leonardo DiCaprio is Rick Dalton, a TV and movie star best known for repeatedly saving the day in the now cancelled TV show 'Bounty Law', where he played a classic screen cowboy. Rick is struggling to come to terms with his fading career, and the feeling that Hollywood is moving on without him. His best, and only friend, is Cliff Booth (Brad Pitt), who has been Rick's stunt double over the years. Work for Cliff has dried up following rumours that he murdered his wife and Cliff now spends his days as Rick's driver, odd-job man and general shoulder to cry on. He seems fairly relaxed about his simple lifestyle though - returning each evening to his trailer, and faithful canine companion Brandy, before picking Rick up bright and early the next day in order to drive him to whatever production set he's currently working at.
Meanwhile, successful young actor Sharon Tate (Margot Robbie) has moved in next door to Rick along with her husband, director Roman Polanski. This is the area where Tarantino weaves fact with fiction and if you're not familiar with the Manson murders of 1969, it's probably worth reading up on a little bit before heading into the movie. On the night of 9 August 1969, three followers of cult leader Charles Manson entered the home of a heavily pregnant Sharon Tate and brutally murdered her and the friends who were with her at the time. Once Upon a Time in Hollywood begins a few months before those events, and then takes its sweet time in slowly building towards it.
If it weren't for the performances of everyone involved, this would have been a much harder watch for me. Brad Pitt is the best I've seen him for a long time here, all smiles and laid-back charm, a real interesting and enjoyable character. Leonardo DiCaprio is also on fine form as the broken man struggling to cling to fame and when the two are together, they're a lot of fun. Margot Robbie, has far less to do in her parallel story-line, but still manages to shine in her charismatic portrayal of Tate.
What does make the movie harder to watch is the run-time and, as I said right at the start, I feel this definitely could have benefited from at least an hour being chopped. Sunny LA during the 1960s is beautiful to look at, and when we're following Rick and Cliff as they cruise around town in their car it's nostalgic, vibrant and wonderful to watch. But, we get to follow the characters around town in their cars quite a lot in this movie. And, on top of that, literally every scene, no matter how significant, irrelevant or weak it may be, is dragged out far longer than it needs to be. The great scenes become diluted, and the scenes where nothing much was happening anyway, just become frustrating and hard work to hold your attention.
Along the way, our characters occasionally and unknowingly cross paths with the hippies who form Charles Manson's cult at Spahn Ranch. Cliff even has a uneasy standoff with a group of them at the ranch itself in one of the better scenes of the movie. It's these suspenseful moments that increase the tension perfectly, stoking the sense of foreboding and providing a constant reminder of the death and destruction set to come. The final 15 minutes or so do provide us with some intense, violent madness - a real wake up call after the meandering, often floundering, plot-lines of the movie up until that point. As always with Tarantino movies, there's plenty to digest, dissect and discuss but I certainly won't be revisiting this one any time soon.
Leonardo DiCaprio is Rick Dalton, a TV and movie star best known for repeatedly saving the day in the now cancelled TV show 'Bounty Law', where he played a classic screen cowboy. Rick is struggling to come to terms with his fading career, and the feeling that Hollywood is moving on without him. His best, and only friend, is Cliff Booth (Brad Pitt), who has been Rick's stunt double over the years. Work for Cliff has dried up following rumours that he murdered his wife and Cliff now spends his days as Rick's driver, odd-job man and general shoulder to cry on. He seems fairly relaxed about his simple lifestyle though - returning each evening to his trailer, and faithful canine companion Brandy, before picking Rick up bright and early the next day in order to drive him to whatever production set he's currently working at.
Meanwhile, successful young actor Sharon Tate (Margot Robbie) has moved in next door to Rick along with her husband, director Roman Polanski. This is the area where Tarantino weaves fact with fiction and if you're not familiar with the Manson murders of 1969, it's probably worth reading up on a little bit before heading into the movie. On the night of 9 August 1969, three followers of cult leader Charles Manson entered the home of a heavily pregnant Sharon Tate and brutally murdered her and the friends who were with her at the time. Once Upon a Time in Hollywood begins a few months before those events, and then takes its sweet time in slowly building towards it.
If it weren't for the performances of everyone involved, this would have been a much harder watch for me. Brad Pitt is the best I've seen him for a long time here, all smiles and laid-back charm, a real interesting and enjoyable character. Leonardo DiCaprio is also on fine form as the broken man struggling to cling to fame and when the two are together, they're a lot of fun. Margot Robbie, has far less to do in her parallel story-line, but still manages to shine in her charismatic portrayal of Tate.
What does make the movie harder to watch is the run-time and, as I said right at the start, I feel this definitely could have benefited from at least an hour being chopped. Sunny LA during the 1960s is beautiful to look at, and when we're following Rick and Cliff as they cruise around town in their car it's nostalgic, vibrant and wonderful to watch. But, we get to follow the characters around town in their cars quite a lot in this movie. And, on top of that, literally every scene, no matter how significant, irrelevant or weak it may be, is dragged out far longer than it needs to be. The great scenes become diluted, and the scenes where nothing much was happening anyway, just become frustrating and hard work to hold your attention.
Along the way, our characters occasionally and unknowingly cross paths with the hippies who form Charles Manson's cult at Spahn Ranch. Cliff even has a uneasy standoff with a group of them at the ranch itself in one of the better scenes of the movie. It's these suspenseful moments that increase the tension perfectly, stoking the sense of foreboding and providing a constant reminder of the death and destruction set to come. The final 15 minutes or so do provide us with some intense, violent madness - a real wake up call after the meandering, often floundering, plot-lines of the movie up until that point. As always with Tarantino movies, there's plenty to digest, dissect and discuss but I certainly won't be revisiting this one any time soon.
Emma @ The Movies (1786 KP) rated Lords of Chaos (2018) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
I saw one trailer for this and at that point I instantly assumed that it wouldn't show at my local Cineworld, but it did, with a surprising amount of showings. The gentleman and I who attended this particular screening really did not look like your typical black metal fans, but then it's always the quiet ones...
In my non-fan status I can't say anything to its accuracy. From what I understand there are disagreements over some of it, the trailer does state "based on truth and lies" so somewhere along the line they know they've taken some necessary artistic license.
Lords Of Chaos is a pretty honest movie, and by that I mean it doesn't sugarcoat anything. There are violent and horrific scenes that any movie looking for a 15 certificate would have looked away at the last minute or done something artistic with the camera angle, but LOC just went "F*** it, zoom in." and I think that was a great benefit to it. I actually found it less shocking for that exact reason. If you can stomach it then seeing what actually happens is a lot less affecting than being left to imagine it. I'm aware that that probably says something horrific about me personally.
I was... put off? by the casting of Rory Culkin as the lead in this. I couldn't honestly tell you why, I've only really seen him in Scream 4 and I love that. His performance from start to finish was incredible, including the voiceovers which were placed in exactly the right places throughout. I was blown away by him when I'd expected to dislike his character. Culkin seems to know exactly where Euronymous is going, he adapts to the changes in him and you see the schemer, the worrier and all the associated emotions that go with them.
Emory Cohen gave an interesting performance as Varg, but I wasn't particularly fond of the character. To see his transformation from almost puppy dog longing to connect before he spirals into paranoia and his ever-expanding need to be the best was intriguing, it ultimately left me with an awkward feeling that I wasn't particularly fond of.
The two of them together made for a good contrast with both characters progressing in opposite directions yet never meeting and being able to connect in the middle. I liked that they both seemed to underestimate the other and that impact brought out very different characteristics in them both. That ultimately led to a strong conclusion to the film and allowed Culkin to really end it with a bang.
The film itself was beautifully shot and many of the shots seemed frivolous at the time but actually allowed for some respite from the carnage and allowed you to take in the gravity of some of the actions.
While Lords Of Chaos is probably not a film I would have ever seen in the past I was actually pleased that I saw it. This regime of seeing (almost) everything that comes out at my cinema has its ups and downs but this was a pretty interesting watch. Culkin performed his socks off and it was a very entertaining surprise. This is a topic that will definitely need some further reading beyond what is portrayed here as I'm certain that to make a film of this suitable for a movie-going audience it would have needed a lot of tweaking from the truth.
What you should do
This is definitely not for the faint hearted, I would absolutely not recommend it to you if you don't like blood, violence or are susceptible to self-harm on screen. If you can stomach all of those things and have an interest in music then I'd say it's worth giving a go.
Movie thing you wish you could take home
Running my own record store looks like it migt be fun, but I don't think that my music taste would make it a very popular shop.
In my non-fan status I can't say anything to its accuracy. From what I understand there are disagreements over some of it, the trailer does state "based on truth and lies" so somewhere along the line they know they've taken some necessary artistic license.
Lords Of Chaos is a pretty honest movie, and by that I mean it doesn't sugarcoat anything. There are violent and horrific scenes that any movie looking for a 15 certificate would have looked away at the last minute or done something artistic with the camera angle, but LOC just went "F*** it, zoom in." and I think that was a great benefit to it. I actually found it less shocking for that exact reason. If you can stomach it then seeing what actually happens is a lot less affecting than being left to imagine it. I'm aware that that probably says something horrific about me personally.
I was... put off? by the casting of Rory Culkin as the lead in this. I couldn't honestly tell you why, I've only really seen him in Scream 4 and I love that. His performance from start to finish was incredible, including the voiceovers which were placed in exactly the right places throughout. I was blown away by him when I'd expected to dislike his character. Culkin seems to know exactly where Euronymous is going, he adapts to the changes in him and you see the schemer, the worrier and all the associated emotions that go with them.
Emory Cohen gave an interesting performance as Varg, but I wasn't particularly fond of the character. To see his transformation from almost puppy dog longing to connect before he spirals into paranoia and his ever-expanding need to be the best was intriguing, it ultimately left me with an awkward feeling that I wasn't particularly fond of.
The two of them together made for a good contrast with both characters progressing in opposite directions yet never meeting and being able to connect in the middle. I liked that they both seemed to underestimate the other and that impact brought out very different characteristics in them both. That ultimately led to a strong conclusion to the film and allowed Culkin to really end it with a bang.
The film itself was beautifully shot and many of the shots seemed frivolous at the time but actually allowed for some respite from the carnage and allowed you to take in the gravity of some of the actions.
While Lords Of Chaos is probably not a film I would have ever seen in the past I was actually pleased that I saw it. This regime of seeing (almost) everything that comes out at my cinema has its ups and downs but this was a pretty interesting watch. Culkin performed his socks off and it was a very entertaining surprise. This is a topic that will definitely need some further reading beyond what is portrayed here as I'm certain that to make a film of this suitable for a movie-going audience it would have needed a lot of tweaking from the truth.
What you should do
This is definitely not for the faint hearted, I would absolutely not recommend it to you if you don't like blood, violence or are susceptible to self-harm on screen. If you can stomach all of those things and have an interest in music then I'd say it's worth giving a go.
Movie thing you wish you could take home
Running my own record store looks like it migt be fun, but I don't think that my music taste would make it a very popular shop.