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Charlie Cobra Reviews (1840 KP) rated I Am a Hero (2015) in Movies
Jul 7, 2020 (Updated Oct 29, 2020)
The Hero's Journey In The Zombie Apocalypse Is As Serious As It Is Funny
Contains spoilers, click to show
I have to say that this movie is one of the best zombie movies I've seen lately. From the beginning I like the way that the main character Hideo has these little moments where he zones out and has these little fantasies where he imagines himself as being more outgoing or heroic. Even if its just something small like the first one where he's at work and get's everyone cheering about being proud to work there when in reality he was just muttering to himself quietly. I really like how he's this kind of everyday regular guy who's just kind of down on his luck doubting himself. He's not where he thought he would be career wise which is hindering his relationship with his girlfriend and his co-workers. His girlfriend even kicks him out because of this and throws out some of his stuff. He really has bad luck because as he tries to make up for the fight with his girlfriend Tekko, he goes back to the apartment to find out that she has been infected by the ZQN virus and she attacks him and nearly infects him too. The ZQN's were pretty cool by the way. At first I thought that the whole cross-eyed look to them looked a little too silly but as it became a signature visualization that marked when someone had become a zombie. When his girlfriend turned it was quite horrifying as she contorted all over the place and did everything in her power to try and eat him. She even bit the door so violently she broke off all of her teeth, which was quite lucky for Hideo because when she bit him she didn't break the skin infecting him. The scene when he is running through the city and everything is in chaos was one of the more memorable scenes for me because so much was going on. There were ZQN's and regular people running all over the place in all directions and cars hitting people, but the car scene with the business man, the school girl Hiromi, and the taxi driver was spectacular. In fact one of the coolest things I've seen in a zombie movie is the school girl Hiromi who becomes a abnormal ZQN. She says that she was bit by a baby who was probably infected from breast milk if the mother was a ZQN. She didn't exhibit any symptoms for like 2 days and when she turns she doesn't attack Hideo but instead saves him by killing a ZQN that was trying to kill him. She has one eye that looks like a ZQN and has crazy superhuman strength but for some reason sleeps a lot. Most of the time in these survival zombie movies the story suffers from a lack of plot structure but a news report stating that the virus can't sustain itself at higher elevations make traveling to Mt. Fuji a destination propelling the plot further in a direction that makes sense. I also like how they used foreshadowing in certain scenes like when he finds a shopping basket with a logo of a marketplace, you can tell that place is more than likely the next destination. I also thought it was pretty cool how Hiromi wasn't the only abnormal and there was a weird "grudge" spider walking girl and then the infamous track star zombie with the crushed head. That one ran super fast and jumped really high and was pretty cool. One of the things I kind of didn't like was that Hideo had a gun for a lot of the movie but never even shot it until close to the end but it did go with the characters personality and make the story more interesting. It's just a little hard to believe. Also why weren't there anybody using any samurais swords on the zombies. I mean with the ZQN's being hard to kill because you need to destroy the whole brain, cutting their heads off would have been really efficient and machetes or swords would have been perfect. And just because it's Japan, I don't expect there to be swords everywhere but I'm surprised there wasn't even one. This movie was just so unexpectedly good it's hard for me to nitpick at things with it and I'm sure there's more that bothered me with it but I really enjoyed and liked this movie. I give this movie a 8/10 and my "Must See Seal of Approval"
Henry Rollins recommended Apocalypse Now (1979) in Movies (curated)
Emma @ The Movies (1786 KP) rated Endless (2020) in Movies
Nov 22, 2020
The synopsis was suitably intriguing, but there's always a slight worry that a fantasy romance is going to be a little cheesy.
Riley and Chris are the definition of young love, their future together is almost certain, until a car accident takes Chris. But Chris isn't gone yet, he's stuck on Earth in limbo. When he finds he can communicate with Riley, their love lives on, but are the consequences of living this way a price they can pay?
So, Endless is exactly what it sounds like, ghost boyfriend hangs around living girlfriend and they learn things about themselves... because that's what these films do. The opening gives you the impression you're about to see the film love child of a Disney Channel Original movie and a Hallmark movie, and that's not far off what we get... except it probably could have done with a bit more humour injected into it, and maybe a smidge less drama.
Riley and Chris are our young leading duo, they're in love, they want their future to be together... and yet somehow he is baffled by her life choices with college. The opening of the film is a montage that shows this perfect couply life, and it's very much used to cover up the fact that the main bulk of the film skips over this development between them. That would be fine if it wasn't for the fact that our first big interaction with them is basically an argument about something that they would have already talked about had they been this couple we'd seen portrayed. So not only are we starting the film with a scenario that seems contrary to the life we're shown, but we're also confronted with hostility between them which gives us no chance to get to know either one and "be on their side" through the rest of the film.
I was astounded to see that this film is only 1 hour 35... I can already sense that many people will be making jokes about this film's title and the runtime (because I can't be the only one who feels things about this film), it really did feel longer so I can't blame them for it. That does also go some way to explain bits that seem to happen very suddenly, I'm not sure if they've written it this way or if it's been cut down, but it left me with an odd feeling at times.
When it comes to acting I'm having trouble separating it from the characters and the script. Many of the characters have such a swift change in emotion that I imagined someone behind the camera was shouting "Now you're angry!" at them randomly. No one seems to be immune, even DeRon Horton, who struck me as doing the best job of his piece, has a mad moment that didn't seem to fit with the character or the story.
Endless honestly seems to have a bit of an identity crisis, I couldn't see a clear goal for what the final product was trying to be. Was it the story of them as a couple? Was it the story of Chris coming to terms with his passing? Or was it the story of Riley finding herself and her passion through grief? It appeared to be all of those with varying importance throughout.
I'm aware I'm rambling a little at this point... I'll try to get a move on!
With Chris being dead they've decided they need to capture the spirit world on screen. It's certainly clear when this happens with its hazy glimmer, but I don't think they needed to do that at all, it's a little over the top. As is the addition of the traditional ghost-passing-through-things effect. That was indeed a little cheesy in this drama and is one of the main reasons I stated above that it could have embraced some more humour. Something that particularly bugged me with the effects though is the fact they paid money to give us a Snapchat filter but didn't pay someone to take out the sound of Chris and Jordan walking on gravel.
For all my griping though, I did find it an emotional watch, sadly that couldn't pull it back from the many problems I encountered along the way. An extra ten minutes to expand on their relationship would have helped it along a little, but I think its biggest problem is the inconsistency that plagues us throughout with the characters and the storylines.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/11/endless-movie-review.html
Riley and Chris are the definition of young love, their future together is almost certain, until a car accident takes Chris. But Chris isn't gone yet, he's stuck on Earth in limbo. When he finds he can communicate with Riley, their love lives on, but are the consequences of living this way a price they can pay?
So, Endless is exactly what it sounds like, ghost boyfriend hangs around living girlfriend and they learn things about themselves... because that's what these films do. The opening gives you the impression you're about to see the film love child of a Disney Channel Original movie and a Hallmark movie, and that's not far off what we get... except it probably could have done with a bit more humour injected into it, and maybe a smidge less drama.
Riley and Chris are our young leading duo, they're in love, they want their future to be together... and yet somehow he is baffled by her life choices with college. The opening of the film is a montage that shows this perfect couply life, and it's very much used to cover up the fact that the main bulk of the film skips over this development between them. That would be fine if it wasn't for the fact that our first big interaction with them is basically an argument about something that they would have already talked about had they been this couple we'd seen portrayed. So not only are we starting the film with a scenario that seems contrary to the life we're shown, but we're also confronted with hostility between them which gives us no chance to get to know either one and "be on their side" through the rest of the film.
I was astounded to see that this film is only 1 hour 35... I can already sense that many people will be making jokes about this film's title and the runtime (because I can't be the only one who feels things about this film), it really did feel longer so I can't blame them for it. That does also go some way to explain bits that seem to happen very suddenly, I'm not sure if they've written it this way or if it's been cut down, but it left me with an odd feeling at times.
When it comes to acting I'm having trouble separating it from the characters and the script. Many of the characters have such a swift change in emotion that I imagined someone behind the camera was shouting "Now you're angry!" at them randomly. No one seems to be immune, even DeRon Horton, who struck me as doing the best job of his piece, has a mad moment that didn't seem to fit with the character or the story.
Endless honestly seems to have a bit of an identity crisis, I couldn't see a clear goal for what the final product was trying to be. Was it the story of them as a couple? Was it the story of Chris coming to terms with his passing? Or was it the story of Riley finding herself and her passion through grief? It appeared to be all of those with varying importance throughout.
I'm aware I'm rambling a little at this point... I'll try to get a move on!
With Chris being dead they've decided they need to capture the spirit world on screen. It's certainly clear when this happens with its hazy glimmer, but I don't think they needed to do that at all, it's a little over the top. As is the addition of the traditional ghost-passing-through-things effect. That was indeed a little cheesy in this drama and is one of the main reasons I stated above that it could have embraced some more humour. Something that particularly bugged me with the effects though is the fact they paid money to give us a Snapchat filter but didn't pay someone to take out the sound of Chris and Jordan walking on gravel.
For all my griping though, I did find it an emotional watch, sadly that couldn't pull it back from the many problems I encountered along the way. An extra ten minutes to expand on their relationship would have helped it along a little, but I think its biggest problem is the inconsistency that plagues us throughout with the characters and the storylines.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/11/endless-movie-review.html
Johnny Marr recommended track Jeepster by T Rex in Electric Boogie 1971 by T Rex in Music (curated)
Bob Mann (459 KP) rated Dunkirk (2017) in Movies
Sep 29, 2021
A war vehicle running low on fuel.
The words “Christopher Nolan” and “disappointment” are not words I would naturally associate… but for me, they apply where “Dunkirk” is concerned.
It promised so much from the trailer: a historical event of epic proportions; Kenneth Branagh; Tom Hardy; Mark Rylance; Hans Zimmer on the keys; the director of such classics as “The Dark Knight”; “Inception” and “Interstellar” : what could go wrong?
But it just doesn’t work and I’ve spent the last 24 hours trying to unpick why.
A key problem for me was the depiction of the beach itself. The film eschews CGI effects – a move that I would normally approve of – in favour of the use of “practical effects” and the involvement of “thousands of extras” (as the rather glutinously positive Wiki entry declares). Unfortunately for the movie, there were some 400,000 troops marooned in this last patch of civilisation ahead of the Nazi hoard, and all of the shots refuse to acknowledge this scale of potential human tragedy. Yes, there are individual scenes of horror, such as the soldier walking into the sea against the impassive stares of the young heroes. But nothing of scale. At times I thought I’d seen more people on the beach on a winter’s day in Bournemouth! In the absence of a co-production with China, and the provision of the volume of extras as in “The Great Wall“, CGI becomes a necessary evil to make the whole exercise believable.
What it was really like…. one of the famous paintings by Charles Cundall (Crown copyright).
My disquiet at this deepened when we got to the sharp end of the rescue by the “small boats”. In my mind (and I’m NOT quite old enough to remember this!) I imagine a sea full of them. A sight to truly merit Branagh’s awed gaze. But no. They might have been “original” vessels…. but there was only about half a dozen of them. A mental vision dashed.
Did I feel a spot of rain? Looking to unfriendly skies on the River Mole.
The film attempts to tell the story from three perspectives: from the land; from the sea and from the air. The sea though gets the lion’s share of the film, and there is much drowning that occurs that (I am aware) was distressing for some in the audience.
Styles going in One Direction…. down.
Nolan also pushes his quirky “timeline” manipulation too far for an audience that largely expects a linear telling of a classic tale. It’s day; it’s night; the minesweeper’s sailing; then sunk; then sailing again; a Spitfire crashes, then crashes again from a different perspective. I know many in the audience just didn’t ‘get’ that: leaving them presumably very confused!
That being said, the film is not a write off, and has its moments of brilliance. Kenneth Branagh (“Jack Ryan: Shadow Recruit“, “Valkyrie”) – although having a range of Nolan’s clipped and cheesy lines to say – is impressive as the commanding officer. Mark Rylance (“Bridge of Spies“, “The BFG“) also shines as the captain of the “Moonstone”: one of the small boats out of Weymouth (although here there is a grievous lack of backstory for the civilian efforts). And Tom Hardy (“The Revenant“, “Legend“), although having limited opportunity to act with anything other than his eyes, is impressive as RAF pilot Farrier. His final scene of stoic heroism is memorable.
Fionn Whitehead is also impressive in his movie debut, and even Harry Styles (“This is Us“) equips himself well.
A surfeit of horror leads to a lack of compassion. Harry Styles, Aneurin Barnard and Fionn Whitehead look on as the death toll mounts.
The cinematography by Hoyte Van Hoytema (“Interstellar“) is stunning with some memorable shots: a burning plane on a beach being a highspot for me.
And Hans Zimmer’s score is Oscar-worthy, generating enormous tension with a reverberating score, albeit sometimes let down by unsuitable cutaways (for example, to scenes of boat loading). Elsewhere in the sound department though I had major issues, with a decent percentage of the dialogue being completely inaudible in the sound mix.
Kenneth Branagh, impressive as Commander Bolton RN.
I really wanted this to be a “Battle of Britain”. Or a “Bridge Too Far”. Or even a “Saving Private Ryan”. Unfortunately, for me it was none of these, and this goes down as one of my movie disappointments of the year so far.
It promised so much from the trailer: a historical event of epic proportions; Kenneth Branagh; Tom Hardy; Mark Rylance; Hans Zimmer on the keys; the director of such classics as “The Dark Knight”; “Inception” and “Interstellar” : what could go wrong?
But it just doesn’t work and I’ve spent the last 24 hours trying to unpick why.
A key problem for me was the depiction of the beach itself. The film eschews CGI effects – a move that I would normally approve of – in favour of the use of “practical effects” and the involvement of “thousands of extras” (as the rather glutinously positive Wiki entry declares). Unfortunately for the movie, there were some 400,000 troops marooned in this last patch of civilisation ahead of the Nazi hoard, and all of the shots refuse to acknowledge this scale of potential human tragedy. Yes, there are individual scenes of horror, such as the soldier walking into the sea against the impassive stares of the young heroes. But nothing of scale. At times I thought I’d seen more people on the beach on a winter’s day in Bournemouth! In the absence of a co-production with China, and the provision of the volume of extras as in “The Great Wall“, CGI becomes a necessary evil to make the whole exercise believable.
What it was really like…. one of the famous paintings by Charles Cundall (Crown copyright).
My disquiet at this deepened when we got to the sharp end of the rescue by the “small boats”. In my mind (and I’m NOT quite old enough to remember this!) I imagine a sea full of them. A sight to truly merit Branagh’s awed gaze. But no. They might have been “original” vessels…. but there was only about half a dozen of them. A mental vision dashed.
Did I feel a spot of rain? Looking to unfriendly skies on the River Mole.
The film attempts to tell the story from three perspectives: from the land; from the sea and from the air. The sea though gets the lion’s share of the film, and there is much drowning that occurs that (I am aware) was distressing for some in the audience.
Styles going in One Direction…. down.
Nolan also pushes his quirky “timeline” manipulation too far for an audience that largely expects a linear telling of a classic tale. It’s day; it’s night; the minesweeper’s sailing; then sunk; then sailing again; a Spitfire crashes, then crashes again from a different perspective. I know many in the audience just didn’t ‘get’ that: leaving them presumably very confused!
That being said, the film is not a write off, and has its moments of brilliance. Kenneth Branagh (“Jack Ryan: Shadow Recruit“, “Valkyrie”) – although having a range of Nolan’s clipped and cheesy lines to say – is impressive as the commanding officer. Mark Rylance (“Bridge of Spies“, “The BFG“) also shines as the captain of the “Moonstone”: one of the small boats out of Weymouth (although here there is a grievous lack of backstory for the civilian efforts). And Tom Hardy (“The Revenant“, “Legend“), although having limited opportunity to act with anything other than his eyes, is impressive as RAF pilot Farrier. His final scene of stoic heroism is memorable.
Fionn Whitehead is also impressive in his movie debut, and even Harry Styles (“This is Us“) equips himself well.
A surfeit of horror leads to a lack of compassion. Harry Styles, Aneurin Barnard and Fionn Whitehead look on as the death toll mounts.
The cinematography by Hoyte Van Hoytema (“Interstellar“) is stunning with some memorable shots: a burning plane on a beach being a highspot for me.
And Hans Zimmer’s score is Oscar-worthy, generating enormous tension with a reverberating score, albeit sometimes let down by unsuitable cutaways (for example, to scenes of boat loading). Elsewhere in the sound department though I had major issues, with a decent percentage of the dialogue being completely inaudible in the sound mix.
Kenneth Branagh, impressive as Commander Bolton RN.
I really wanted this to be a “Battle of Britain”. Or a “Bridge Too Far”. Or even a “Saving Private Ryan”. Unfortunately, for me it was none of these, and this goes down as one of my movie disappointments of the year so far.
okletmereviewit (4 KP) rated Boo! A Madea Halloween (2016) in Movies
May 11, 2018
good comedy movie for halloween
Contains spoilers, click to show
Hellur!!! OK so if you are looking for a good comedy movie for halloween (I know not typically a genre that you look for this time of year) then look no further. If you are a Tyler Perry fan or a fan of Madea you are going to be pleasantly surprised that this movie isn't a flop like (in my humble opinion) A Madea Christmas. Now since the early days I have loved the Madea character and the good wholesome values that Mr. Perry brings to the big screen. Sometimes they can "reach" and other times its just good fun.
In this movie, we find a grown 17yr old Tiffany (played by Diamond White) Brian's Daughter who we first met in Diary of a Mad Black Woman as a little girl (played by Tiffany Evens) and some girlfriends walking home from school, where they come across a Frat House with overly douchey College guys who are cat calling the young high school girls as they walk past their house.
They all try to talk to them and of course they only have one thing on their mind while talking to the girls. They invite them to a Halloween bash that they hold every year and about that time a very angry Brian pulls up and has a verbal confrontation with these guys. Embarrassed by the incident Tiffany is angry and talks back to Brian in front of her girlfriends and the Frat boys. Later we find Tiffany and her friend Aday (played by Liz Koshy) scheming in Tiffany's room about how they are going to sneak out after Brian leaves for work for the weekend.
Brian after finding out that his daughter is going to be meeting up with the boys later, calls Madea to come by and stay with the girls so that she can keep them in line. Well Madea, Joe, Aunt Bam, and Hattie, all show up to the house, where they witness the disrespectful nature in which Tiffany speaks to Brian and how she "throws shade" at the "old people" who are there to thwart her plans to go to the college frat party. Antics ensue as Tiffany decides to play a prank on Madea, Joe, Bam, and Hattie, and tell them a spooky story about how their house is haunted and that the only way to be safe is to go to bed before 10pm. After this the girls sneak out of the house to attend the party. Madea, goes to check up on the girls after some time has passed, and discovers that they are not in bed. Madea rallies up the troop (Bam and Hattie) and heads down to the frat party. When they pull up Madea is accosted by some frat boys on the front steps and after quickly putting them in place, she begins to search the party for Tiffany and Aday. When their friends find out that Tiffany's aunt is looking for her, they are quickly taken outside and Madea is hoisted up by a bunch of angry and drunk party goers and is thrown out the door.
"Mad as hell" Madea returns to Brian's house and calls the cops on the party and has it shut down. The frat boys take it on themselves to get back at Madea. Meanwhile, Tiffany comes downstairs and confronts Madea about what was going on acting like she had been upstairs sleeping in her dad's room the whole time. The frat boys begin messing with Madea, Joe, Bam, and Hattie, scaring them. At which point a couple of the guys, dress up like clowns and stalk Madea, Bam, and Hattie through out the house, eventually causing them to get in Madea's car and flee.
As they head down a dark road Madea's car breaks down. Madea and Hattie get out to try and see what is wrong with the car. About that time shadowy figures begin to appear in the woods surrounding them, and begin chasing them. Madea kicks it into high gear and leaves everyone in the dust and runs into the church where Aday's father the Reverend (Javon Johnson) is the preacher at, asking to be saved from the "demons and clowns and monkeys" and stuff that were chasing her. Aday comes out and tells Madea and the others that it was all just a prank that the frat boys were pulling and that none of it was real. Madea then decides to have some "hullerween" fun of her own by pulling a fast one on the boys. The film ends with a positive message about love, trust, and respect, and Madea running from "the po po".
You are in for a fun time and a good belly laugh. I hope you all take time to get out to see this great movie that is sure to become a family holiday classic.
In this movie, we find a grown 17yr old Tiffany (played by Diamond White) Brian's Daughter who we first met in Diary of a Mad Black Woman as a little girl (played by Tiffany Evens) and some girlfriends walking home from school, where they come across a Frat House with overly douchey College guys who are cat calling the young high school girls as they walk past their house.
They all try to talk to them and of course they only have one thing on their mind while talking to the girls. They invite them to a Halloween bash that they hold every year and about that time a very angry Brian pulls up and has a verbal confrontation with these guys. Embarrassed by the incident Tiffany is angry and talks back to Brian in front of her girlfriends and the Frat boys. Later we find Tiffany and her friend Aday (played by Liz Koshy) scheming in Tiffany's room about how they are going to sneak out after Brian leaves for work for the weekend.
Brian after finding out that his daughter is going to be meeting up with the boys later, calls Madea to come by and stay with the girls so that she can keep them in line. Well Madea, Joe, Aunt Bam, and Hattie, all show up to the house, where they witness the disrespectful nature in which Tiffany speaks to Brian and how she "throws shade" at the "old people" who are there to thwart her plans to go to the college frat party. Antics ensue as Tiffany decides to play a prank on Madea, Joe, Bam, and Hattie, and tell them a spooky story about how their house is haunted and that the only way to be safe is to go to bed before 10pm. After this the girls sneak out of the house to attend the party. Madea, goes to check up on the girls after some time has passed, and discovers that they are not in bed. Madea rallies up the troop (Bam and Hattie) and heads down to the frat party. When they pull up Madea is accosted by some frat boys on the front steps and after quickly putting them in place, she begins to search the party for Tiffany and Aday. When their friends find out that Tiffany's aunt is looking for her, they are quickly taken outside and Madea is hoisted up by a bunch of angry and drunk party goers and is thrown out the door.
"Mad as hell" Madea returns to Brian's house and calls the cops on the party and has it shut down. The frat boys take it on themselves to get back at Madea. Meanwhile, Tiffany comes downstairs and confronts Madea about what was going on acting like she had been upstairs sleeping in her dad's room the whole time. The frat boys begin messing with Madea, Joe, Bam, and Hattie, scaring them. At which point a couple of the guys, dress up like clowns and stalk Madea, Bam, and Hattie through out the house, eventually causing them to get in Madea's car and flee.
As they head down a dark road Madea's car breaks down. Madea and Hattie get out to try and see what is wrong with the car. About that time shadowy figures begin to appear in the woods surrounding them, and begin chasing them. Madea kicks it into high gear and leaves everyone in the dust and runs into the church where Aday's father the Reverend (Javon Johnson) is the preacher at, asking to be saved from the "demons and clowns and monkeys" and stuff that were chasing her. Aday comes out and tells Madea and the others that it was all just a prank that the frat boys were pulling and that none of it was real. Madea then decides to have some "hullerween" fun of her own by pulling a fast one on the boys. The film ends with a positive message about love, trust, and respect, and Madea running from "the po po".
You are in for a fun time and a good belly laugh. I hope you all take time to get out to see this great movie that is sure to become a family holiday classic.
Debbiereadsbook (1166 KP) rated An Unlocked Mind (Secrets #2) in Books
Apr 24, 2019
awesome follow up!
Independent reviewer for Divine Magazine, I was gifted the audio file of this book.
Rob is TRYING to be better person than the one who nearly ruined his brother’s life, he really is. But it’s hard when no one will help you. A visit to the opening night of Secrets is just what he needs. Til a demonstration has him running. But he returns the next week, and runs straight into Vic, along with giving Vic attitude. Rescuing the obnoxious little git wasn’t in Vic’s game plan for the evening, but he can’t leave Rob walking in the pouring rain. After depositing Rob at the train station, he never expects to see him again. Although, something about Rob calls to him, it really does. When Rob starts turning up every weekend, Vic begins to look forward to his visits. Then Life throws Rob under a bus and Vic knows this is his chance to get into Rob’s head, and for Rob to get out of it.
This is book 2 in the Secrets series, but you don’t NEED to have read/listened to book one first, but I think you should. It’s bloody good!
As is this one!
Vic isn’t what I would call a Dom Dom, his speciality is getting a sub out of his head, rather than floggers and whips. And he KNOWS something is eating away at Rob’s mind, he just needs to unlock it. But to do THAT, Vic needs to get to know Rob, on his weekly visits to London. When Rob loses his job in Manchester, Vic offers him a lifeline, under strict terms that Vic lays down. And Rob, desperate for help and starved of any real human interaction, jumps at the chance.
Rob did some things as a younger man, that come back to haunt him, that STILL haunt him. A conversation with his mother turns his brother against him, and Rob is suffering that guilt so bad, it’s a dead weight on his shoulders. Meeting Vic, though, lets something free in his soul, something he had been so afraid to admit before. Something his mother would not approve of. Something he so badly needs, it brings him to the brink of his limits and budgets and his money runs out faster than it should. But Vic? Vic gives him a chance, so long as he sticks with the rules, and those RULES are what Rob needs, He needs to find himself again, deep within himself, before he can forgive himself and to make amends with his brother, should his brother want to.
What I particularly loved about this one, was the lack of the physical BDSM stuff that usually comes with these books, I mean I LOVED the lack of it. Oh don’t get me wrong, this is a sexy book, and it has a crazy amount of heat but there is a distinct lack of floggers and paddles. This was very much a MENTAL book, as in Rob needed to get out of his head so bad, and Vic knew just how to do that.
Rob is, quite simply, a wreck at the start of this book, and it’s a long while before Vic can get him to admit what’s eating him the most. That is: what he did to his brother. But when the FULL picture comes clear, I cried for Rob, I really did. He felt so bad for something he did not do, it messed his head.
Vic, being the most laid back Dom I have quite possibly EVER come across, is just the man for Rob, just the Dom to get to the bottom of his pain and release it. Rob calls to his soul, he really does. But not immediately. It takes a little time for Rob to worm his way in, but once he does, Vic is all in.
I NEED to listen Rob’s story now though! I need to know what a little shit Rob was, and how Rob was affected by what happened, I really do. So, books one and two of Collars and Cuffs are nicely lined up for when I’ve got time.
Joel Leslie narrates this one, as he does book one. I cannot, CANNOT fault the narration of these books, this one especially. Leslie pours so MUCH into Rob, and to Vic to, but to a lesser extent. The emotion pouring out of Rob when he finally breaks down and tells Vic all made me cry, great wrecking sobs that I have no doubt might NOT have come had I been reading.
Leslie is, quite simply a Master at his craft, and coupled with the work of Wells and Williams, I can only give this book. . . .
5 stars for the book
5 stars for the narration
5 stars overall.
**same worded review will appear elsewhere**
Rob is TRYING to be better person than the one who nearly ruined his brother’s life, he really is. But it’s hard when no one will help you. A visit to the opening night of Secrets is just what he needs. Til a demonstration has him running. But he returns the next week, and runs straight into Vic, along with giving Vic attitude. Rescuing the obnoxious little git wasn’t in Vic’s game plan for the evening, but he can’t leave Rob walking in the pouring rain. After depositing Rob at the train station, he never expects to see him again. Although, something about Rob calls to him, it really does. When Rob starts turning up every weekend, Vic begins to look forward to his visits. Then Life throws Rob under a bus and Vic knows this is his chance to get into Rob’s head, and for Rob to get out of it.
This is book 2 in the Secrets series, but you don’t NEED to have read/listened to book one first, but I think you should. It’s bloody good!
As is this one!
Vic isn’t what I would call a Dom Dom, his speciality is getting a sub out of his head, rather than floggers and whips. And he KNOWS something is eating away at Rob’s mind, he just needs to unlock it. But to do THAT, Vic needs to get to know Rob, on his weekly visits to London. When Rob loses his job in Manchester, Vic offers him a lifeline, under strict terms that Vic lays down. And Rob, desperate for help and starved of any real human interaction, jumps at the chance.
Rob did some things as a younger man, that come back to haunt him, that STILL haunt him. A conversation with his mother turns his brother against him, and Rob is suffering that guilt so bad, it’s a dead weight on his shoulders. Meeting Vic, though, lets something free in his soul, something he had been so afraid to admit before. Something his mother would not approve of. Something he so badly needs, it brings him to the brink of his limits and budgets and his money runs out faster than it should. But Vic? Vic gives him a chance, so long as he sticks with the rules, and those RULES are what Rob needs, He needs to find himself again, deep within himself, before he can forgive himself and to make amends with his brother, should his brother want to.
What I particularly loved about this one, was the lack of the physical BDSM stuff that usually comes with these books, I mean I LOVED the lack of it. Oh don’t get me wrong, this is a sexy book, and it has a crazy amount of heat but there is a distinct lack of floggers and paddles. This was very much a MENTAL book, as in Rob needed to get out of his head so bad, and Vic knew just how to do that.
Rob is, quite simply, a wreck at the start of this book, and it’s a long while before Vic can get him to admit what’s eating him the most. That is: what he did to his brother. But when the FULL picture comes clear, I cried for Rob, I really did. He felt so bad for something he did not do, it messed his head.
Vic, being the most laid back Dom I have quite possibly EVER come across, is just the man for Rob, just the Dom to get to the bottom of his pain and release it. Rob calls to his soul, he really does. But not immediately. It takes a little time for Rob to worm his way in, but once he does, Vic is all in.
I NEED to listen Rob’s story now though! I need to know what a little shit Rob was, and how Rob was affected by what happened, I really do. So, books one and two of Collars and Cuffs are nicely lined up for when I’ve got time.
Joel Leslie narrates this one, as he does book one. I cannot, CANNOT fault the narration of these books, this one especially. Leslie pours so MUCH into Rob, and to Vic to, but to a lesser extent. The emotion pouring out of Rob when he finally breaks down and tells Vic all made me cry, great wrecking sobs that I have no doubt might NOT have come had I been reading.
Leslie is, quite simply a Master at his craft, and coupled with the work of Wells and Williams, I can only give this book. . . .
5 stars for the book
5 stars for the narration
5 stars overall.
**same worded review will appear elsewhere**
Movie Metropolis (309 KP) rated Aquaman (2018) in Movies
Jun 10, 2019
Bad Wigs aside it's really rather good
You could be forgiven for being rather sceptical walking into the cinema to see Aquaman, and it’s easy to see why. An uninspiring set of trailers preceded by the DCEU’s shall we say reluctance to resonate with audiences.
Of course, Wonder Woman was a sterling effort by Patty Jenkins, only hampered by a poor final act and the feeling that the female superhero couldn’t quite shake off the trappings of Zac Snyder’s overarching vision for the DC Extended Universe.
Justice League was a steaming pile of mediocrity and Batman vs Superman was fun if entirely forgettable. Aquaman arrives on the scene with the hopes of Warner Bros. entire franchise on its shoulders. But is it any good?
After the events of Justice League and the defeat of Steppenwolf, Aquaman (Jason Momoa) finds himself caught between a surface world that ravages the sea and the underwater Atlanteans who are ready to revolt. Much like the murky depths of the many oceans the film takes us to, Aquaman is at times, a clouded and muddled blockbuster that lacks the subtle nuances of the MCU, but do you know what, it’s actually really rather good.
As we should have been expecting, Aquaman plays the sensible card when it comes to plot and features numerous references to how we as human beings are destroying our oceans, and this is more than welcome. With the ongoing environmental crisis, the more we plug it in mainstream films, the better.
Jason Momoa takes to the role of Arthur Curry like a duck to water and gets to prove his acting prowess in some of the film’s more poignant moments. Nicole Kidman marks her superhero movie debut as his mother, Queen Atlanna and she looks like she’s having a royally good time. Elsewhere, Amber Heard battles against a truly ghastly wig as Momoa’s love-interest and sidekick – she’s fabulous, wig aside.
The supporting cast is also very strong. We get to see superhero veteran Willem Dafoe having a great time as wise Vulko and Patrick Wilson as Aquaman’s scaly brother, Orm. It’s a cracking cast that bolsters a film that is well-written and enjoyable throughout.
Director James Wan, mastermind of the Saw franchise and director of Furious 7brings his trademark filming style to the superhero blockbuster. There’s some stunning imagery throughout and it’s up there with Jurassic World: Fallen Kingdom as one of the best-looking films of the year. There’s something delightful to look at lurking in every frame and it’s leagues ahead of anything the DCEU has thrown at us.
The underwater world of Atlantis is brimming with life, albeit of the CGI variety. The neon colour-palate works incredibly well and it feels at times like you’re watching a Star Wars cloud city, but in the depths of the ocean. It’s nicely detailed and very well put together.
For all its flashy special effects and excellent cinematography, it feels wholly unoriginal
The special effects are on the whole, a bit of a mixed bag. The underwater worlds look fab and the sea creatures too have been improved after the critical mauling they received in the trailers. Nevertheless, there are some moments of shaky CGI, normally involving surface dwellers or Atlantean individuals, rather than scenery or creatures. That’s a shame as it distracts from a gorgeous looking film.
When it comes to villainy, both the DCEU and MCU have struggled to create compelling bad guys and unfortunately the same is true here. Yes, Patrick Wilson’s scheming brother is fun to watch, but he feels like a poor man’s Loki and that’s exactly what he is.
Then there’s Black Manta, portrayed by Yahya Abdul-Mateen II from The Greatest Showman. Despite being part of one of the film’s best sequences (a fantastically filmed rooftop chase in Italy), he doesn’t get to do a lot and his motives are very Killmonger-esque.
And therein lies the fundamental flaw with Aquaman. For all its flashy special effects and excellent cinematography, it feels wholly unoriginal. From Star Wars to Harry Potter and Thor to Black Panther, elements are borrowed here and there until they make up a film that at 143 minutes is a good 20 minutes too long.
But, it doesn’t take itself too seriously (a problem the DCEU has suffered previously) and Jason Momoa somehow manages to make that Aquaman suit work very well indeed. As far as the DCEU is concerned, this is by far the best film the franchise has put out so far – there’s life in the old dog yet. Aquaman is cheesy, campy fun, and I have to say, I really rather liked it. Just ignore the bad wigs.
https://moviemetropolis.net/2018/12/13/aquaman-review-bad-wigs-aside-its-really-rather-good/
Of course, Wonder Woman was a sterling effort by Patty Jenkins, only hampered by a poor final act and the feeling that the female superhero couldn’t quite shake off the trappings of Zac Snyder’s overarching vision for the DC Extended Universe.
Justice League was a steaming pile of mediocrity and Batman vs Superman was fun if entirely forgettable. Aquaman arrives on the scene with the hopes of Warner Bros. entire franchise on its shoulders. But is it any good?
After the events of Justice League and the defeat of Steppenwolf, Aquaman (Jason Momoa) finds himself caught between a surface world that ravages the sea and the underwater Atlanteans who are ready to revolt. Much like the murky depths of the many oceans the film takes us to, Aquaman is at times, a clouded and muddled blockbuster that lacks the subtle nuances of the MCU, but do you know what, it’s actually really rather good.
As we should have been expecting, Aquaman plays the sensible card when it comes to plot and features numerous references to how we as human beings are destroying our oceans, and this is more than welcome. With the ongoing environmental crisis, the more we plug it in mainstream films, the better.
Jason Momoa takes to the role of Arthur Curry like a duck to water and gets to prove his acting prowess in some of the film’s more poignant moments. Nicole Kidman marks her superhero movie debut as his mother, Queen Atlanna and she looks like she’s having a royally good time. Elsewhere, Amber Heard battles against a truly ghastly wig as Momoa’s love-interest and sidekick – she’s fabulous, wig aside.
The supporting cast is also very strong. We get to see superhero veteran Willem Dafoe having a great time as wise Vulko and Patrick Wilson as Aquaman’s scaly brother, Orm. It’s a cracking cast that bolsters a film that is well-written and enjoyable throughout.
Director James Wan, mastermind of the Saw franchise and director of Furious 7brings his trademark filming style to the superhero blockbuster. There’s some stunning imagery throughout and it’s up there with Jurassic World: Fallen Kingdom as one of the best-looking films of the year. There’s something delightful to look at lurking in every frame and it’s leagues ahead of anything the DCEU has thrown at us.
The underwater world of Atlantis is brimming with life, albeit of the CGI variety. The neon colour-palate works incredibly well and it feels at times like you’re watching a Star Wars cloud city, but in the depths of the ocean. It’s nicely detailed and very well put together.
For all its flashy special effects and excellent cinematography, it feels wholly unoriginal
The special effects are on the whole, a bit of a mixed bag. The underwater worlds look fab and the sea creatures too have been improved after the critical mauling they received in the trailers. Nevertheless, there are some moments of shaky CGI, normally involving surface dwellers or Atlantean individuals, rather than scenery or creatures. That’s a shame as it distracts from a gorgeous looking film.
When it comes to villainy, both the DCEU and MCU have struggled to create compelling bad guys and unfortunately the same is true here. Yes, Patrick Wilson’s scheming brother is fun to watch, but he feels like a poor man’s Loki and that’s exactly what he is.
Then there’s Black Manta, portrayed by Yahya Abdul-Mateen II from The Greatest Showman. Despite being part of one of the film’s best sequences (a fantastically filmed rooftop chase in Italy), he doesn’t get to do a lot and his motives are very Killmonger-esque.
And therein lies the fundamental flaw with Aquaman. For all its flashy special effects and excellent cinematography, it feels wholly unoriginal. From Star Wars to Harry Potter and Thor to Black Panther, elements are borrowed here and there until they make up a film that at 143 minutes is a good 20 minutes too long.
But, it doesn’t take itself too seriously (a problem the DCEU has suffered previously) and Jason Momoa somehow manages to make that Aquaman suit work very well indeed. As far as the DCEU is concerned, this is by far the best film the franchise has put out so far – there’s life in the old dog yet. Aquaman is cheesy, campy fun, and I have to say, I really rather liked it. Just ignore the bad wigs.
https://moviemetropolis.net/2018/12/13/aquaman-review-bad-wigs-aside-its-really-rather-good/
Movie Metropolis (309 KP) rated The Iron Lady (2012) in Movies
Jun 10, 2019
Meryl Streep certainly has an impressive roster of films under her belt. She’s reduced Anne Hathaway to tears in The Devil Wears Prada, she’s played the role of struggling hotelier in the all singing, all dancing Mamma Mia and has racked up an astonishing 16 Oscar nominations for films like Kramer vs. Kramer and Sophie’s Choice. However, here, she perhaps takes on her biggest role to date portraying arguably the most controversial figure in British politics; Baroness Thatcher. Can she pull it off? Did you really need to ask?
Streep teams up with Mammia Mia director Phyllida Lloyd in the Iron Lady, a biopic surrounding the life of ex-Prime Minister, Margaret Thatcher and between the two of them and a wonderful supporting cast, deliver a stunning but disappointingly safe take on the 86 year olds life.
The film opens with a frail looking woman wandering the streets and buying a bottle of milk, we soon learn that this woman is of course, Baroness Thatcher. After a thought provoking moment of silence, the scene is switched to her current home where she is kept under lock and key, struggling with ever worsening dementia. Her constant conversations with dead husband Dennis, played fabulously by Jim Broadbent are emotional and form the basis of the entire film.
It is in these scenes that we begin to ‘study’ Thatcher’s life from her youth right up until the present day. We see her refusing to give up after failing to gain a seat in the 1950 and 1951 general elections as well as her first steps into Number 10 as the first ever female Prime Minister. Lloyd displays these moments with great finesse and integrates Streep’s portrayal with real footage of Thatcher walking into 10 Downing Street amongst other key moments.
Most of the major events in Margaret’s career are carried over into the film, bar a few notable exceptions. The Grand Hotel bombing, the Falklands war, the death of Thatcher’s personal assistant at the hands of the IRA and of course the controversial Poll Tax all make the grade but are explained in a way that isn’t damaging to the reputation of the Baroness and this is perhaps where the film loses its way a little.
There’ll be no prizes in telling you that Margaret Thatcher was either a fantastic woman who turned around the fates of a country struggling with recession or a woman who nearly destroyed everything we hold dear; depending obviously on your thoughts of her. No matter what thoughts we all have, opinions are opinions. Here, however, the film tries to make up the minds of those watching, rather than allowing an opinion to form on its own and this is perhaps the biggest problem with a political biopic, there is always a sense of bias.
Fortunately, Lloyd stays on the right side of mass appeal and doesn’t give in to mindless brown-nosing.
It is in the films present day moments that really shine. Seeing a woman who wanted to change the world struggle to cope with the loss of her husband and fall into dementia is, no matter what your opinion on the ex-Prime Minister, heart-breaking. It is here, that sympathy is found.
Streep’s performance is stunning to say the least and she is a joy to watch. Her transgression from young, enthusiastic Thatcher to the old and frail woman we see today is yes, in part down to the astonishing make-up given to her throughout but mainly because of her ability as an actress. She, like the lady herself takes charge of every scene she is a part of, something which many actresses struggle to do. Streep may have had her critics in being cast for this film, but she has proved them wrong. It will be a crime if she isn’t nominated for an Oscar this year.
Of the films other cast, Olivia Colman does well as Margaret’s daughter Carole and as mentioned previously, Jim Broadbent is brilliant as the deceased Dennis Thatcher; he fits the role perfectly and again should be nominated for an Oscar later this year. The supporting cast includes the likes of Anthony Head as Geoffrey Howe and Nicholas Farrell as Thatcher’s murdered assistant Airey Neave, but the scenes with these characters are often overshadowed by Streep’s presence.
The Iron Lady is a joy to behold. It makes you proud to be British, to know that we as a country can produce films of this calibre and it shows the world just what a woman Margaret Thatcher was. In the scenes showing Thatcher’s spiral into dementia is where it becomes most touching, but throughout, we get a full, if slightly biased view of her 11 and a half years in office and Meryl Streep does the old girl proud.
Think what you will of the former Conservative leader, but The Iron Lady is worth a watch for Streep’s performance alone.
https://moviemetropolis.net/2012/01/12/review-the-iron-lady-2011/
Streep teams up with Mammia Mia director Phyllida Lloyd in the Iron Lady, a biopic surrounding the life of ex-Prime Minister, Margaret Thatcher and between the two of them and a wonderful supporting cast, deliver a stunning but disappointingly safe take on the 86 year olds life.
The film opens with a frail looking woman wandering the streets and buying a bottle of milk, we soon learn that this woman is of course, Baroness Thatcher. After a thought provoking moment of silence, the scene is switched to her current home where she is kept under lock and key, struggling with ever worsening dementia. Her constant conversations with dead husband Dennis, played fabulously by Jim Broadbent are emotional and form the basis of the entire film.
It is in these scenes that we begin to ‘study’ Thatcher’s life from her youth right up until the present day. We see her refusing to give up after failing to gain a seat in the 1950 and 1951 general elections as well as her first steps into Number 10 as the first ever female Prime Minister. Lloyd displays these moments with great finesse and integrates Streep’s portrayal with real footage of Thatcher walking into 10 Downing Street amongst other key moments.
Most of the major events in Margaret’s career are carried over into the film, bar a few notable exceptions. The Grand Hotel bombing, the Falklands war, the death of Thatcher’s personal assistant at the hands of the IRA and of course the controversial Poll Tax all make the grade but are explained in a way that isn’t damaging to the reputation of the Baroness and this is perhaps where the film loses its way a little.
There’ll be no prizes in telling you that Margaret Thatcher was either a fantastic woman who turned around the fates of a country struggling with recession or a woman who nearly destroyed everything we hold dear; depending obviously on your thoughts of her. No matter what thoughts we all have, opinions are opinions. Here, however, the film tries to make up the minds of those watching, rather than allowing an opinion to form on its own and this is perhaps the biggest problem with a political biopic, there is always a sense of bias.
Fortunately, Lloyd stays on the right side of mass appeal and doesn’t give in to mindless brown-nosing.
It is in the films present day moments that really shine. Seeing a woman who wanted to change the world struggle to cope with the loss of her husband and fall into dementia is, no matter what your opinion on the ex-Prime Minister, heart-breaking. It is here, that sympathy is found.
Streep’s performance is stunning to say the least and she is a joy to watch. Her transgression from young, enthusiastic Thatcher to the old and frail woman we see today is yes, in part down to the astonishing make-up given to her throughout but mainly because of her ability as an actress. She, like the lady herself takes charge of every scene she is a part of, something which many actresses struggle to do. Streep may have had her critics in being cast for this film, but she has proved them wrong. It will be a crime if she isn’t nominated for an Oscar this year.
Of the films other cast, Olivia Colman does well as Margaret’s daughter Carole and as mentioned previously, Jim Broadbent is brilliant as the deceased Dennis Thatcher; he fits the role perfectly and again should be nominated for an Oscar later this year. The supporting cast includes the likes of Anthony Head as Geoffrey Howe and Nicholas Farrell as Thatcher’s murdered assistant Airey Neave, but the scenes with these characters are often overshadowed by Streep’s presence.
The Iron Lady is a joy to behold. It makes you proud to be British, to know that we as a country can produce films of this calibre and it shows the world just what a woman Margaret Thatcher was. In the scenes showing Thatcher’s spiral into dementia is where it becomes most touching, but throughout, we get a full, if slightly biased view of her 11 and a half years in office and Meryl Streep does the old girl proud.
Think what you will of the former Conservative leader, but The Iron Lady is worth a watch for Streep’s performance alone.
https://moviemetropolis.net/2012/01/12/review-the-iron-lady-2011/
BackToTheMovies (56 KP) rated Haunted (2013) in Movies
Jun 12, 2019
About As Scary As A Trip To Seaworld
Contains spoilers, click to show
Haunted, a film Directed by Steven M Smith is an unusual addition to anyone's 'film' collection, as instantly you question whether this is even a film to begin with, the content is very documentary based, opening with factual accounts and a history of an abandoned railway museum. All of the opening shots are filmed in documentary format and this continues throughout the film even when found footage elements are introduced.
A TV crew will film a paranormal investigation and obtain evidence that proves we are not alone. Something Evil awaits them! They will all discover the truth, that we are not alone.
The above quote is taken directly from the synopsis on the website, contestants are invited to visit a haunted railway as part of the show of which they are filming, they are all packed into a limousine and taken to the event. The whole scenes within the limo following the group around SHOULD of been filmed by a professional camera and a professional cinematographer but it looks as thou the entire film has been shot on someone's mobile phone.
Budget constraints aside, decent camera's should of been used to document the entire film from introduction to the actual paranormal investigations, rather than Sony handycam's that cost £120. The only time still camera's are used is to document an almost news style report at the start of the film and a few segments in between. Using handycams this instantly brings us into frustrating territory of moving shaky pictures, blurred images, and camera operators with shaky hands. Very poor quality recording even for a documentary style shooting as you're watching a black screen for the duration, has anyone ever heard of night vision? Next the acting, now the contestants themselves are not in on the game, they are not aware of what's going on or what they have signed up too, however Jon our 'medium' gives the game away at every opportunity. The strategically placed actor in the movie is Jon Paul Gates a supposed 'medium' who describes what he is feeling and how strong a presence is in a particular area. I personally would of caught on very easily to this poor display as not only was the acting questionable, but his descriptions of certain ghosts and characters were so detailed that it was obvious they had been memorised from a script or prior knowledge. There is one scene where the ghost is apparently on top of Jon as he is weighed to the ground, I found this scene hysterical, I was literally crying with laughter of how poor he not only acted it out but how a ghost was piggy backing a ride around the railway yard.
For the first 30 minutes of the movie, the group have arrived, walked around some railway tracks and picked up some weird force that only Jon can feel yet no one around the group has even felt or experienced anything out of this world. Now Most Haunted the popular paranormal TV show would of thrust the audience into some action by now but for the opening 30 minutes of Haunted, nothing of the sort has happened, as it stands the documentary as I refuse to call it a film has displayed more history about the railways than anything remotely paranormal. Maybe a title change would be for the best? I am neither scared, nor intrigued at this moment in time, quite frankly I'm hoping this heats up and soon.
I feel as thou if this film was cut shorter, much shorter, with a voice over documentary style about where each group is going and what they are doing it would be much more easier to watch. Cut the best bits in, jump scares, certain happenings, instead of mundane walking around a railway yard, because as it stands I could grab a camera, head off out tonight and shoot an identical piece of footage, its neither scary nor intriguing. It needs to have production value and Haunted is really suffering from a lack of it as a result.
There is one event throughout the whole movie which is the main talking point and then the film has the audacity to kill people off towards the end after a whole run time of nothingness, no build up, no real meaning or reason why. It was basically like watching the worst episode of Most Haunted to find one of your group dead on the floor at the end of it, planned, boring and drawn out far too long.
Shorten the run time, have a voice over, documentary coverage and film, DON'T kill anyone off at the end with some cheesy fake characters who no one now believes and have a genuine vigil, no pranks or set ups and this could of been a cool little paranormal programme.
Sadly none of the above happened. What a shame. A few sequels are in the works, shorten the duration, fix the countless problems and maybe, just maybe show some true paranormal / experiences and I guarantee it will be more of a success !
A TV crew will film a paranormal investigation and obtain evidence that proves we are not alone. Something Evil awaits them! They will all discover the truth, that we are not alone.
The above quote is taken directly from the synopsis on the website, contestants are invited to visit a haunted railway as part of the show of which they are filming, they are all packed into a limousine and taken to the event. The whole scenes within the limo following the group around SHOULD of been filmed by a professional camera and a professional cinematographer but it looks as thou the entire film has been shot on someone's mobile phone.
Budget constraints aside, decent camera's should of been used to document the entire film from introduction to the actual paranormal investigations, rather than Sony handycam's that cost £120. The only time still camera's are used is to document an almost news style report at the start of the film and a few segments in between. Using handycams this instantly brings us into frustrating territory of moving shaky pictures, blurred images, and camera operators with shaky hands. Very poor quality recording even for a documentary style shooting as you're watching a black screen for the duration, has anyone ever heard of night vision? Next the acting, now the contestants themselves are not in on the game, they are not aware of what's going on or what they have signed up too, however Jon our 'medium' gives the game away at every opportunity. The strategically placed actor in the movie is Jon Paul Gates a supposed 'medium' who describes what he is feeling and how strong a presence is in a particular area. I personally would of caught on very easily to this poor display as not only was the acting questionable, but his descriptions of certain ghosts and characters were so detailed that it was obvious they had been memorised from a script or prior knowledge. There is one scene where the ghost is apparently on top of Jon as he is weighed to the ground, I found this scene hysterical, I was literally crying with laughter of how poor he not only acted it out but how a ghost was piggy backing a ride around the railway yard.
For the first 30 minutes of the movie, the group have arrived, walked around some railway tracks and picked up some weird force that only Jon can feel yet no one around the group has even felt or experienced anything out of this world. Now Most Haunted the popular paranormal TV show would of thrust the audience into some action by now but for the opening 30 minutes of Haunted, nothing of the sort has happened, as it stands the documentary as I refuse to call it a film has displayed more history about the railways than anything remotely paranormal. Maybe a title change would be for the best? I am neither scared, nor intrigued at this moment in time, quite frankly I'm hoping this heats up and soon.
I feel as thou if this film was cut shorter, much shorter, with a voice over documentary style about where each group is going and what they are doing it would be much more easier to watch. Cut the best bits in, jump scares, certain happenings, instead of mundane walking around a railway yard, because as it stands I could grab a camera, head off out tonight and shoot an identical piece of footage, its neither scary nor intriguing. It needs to have production value and Haunted is really suffering from a lack of it as a result.
There is one event throughout the whole movie which is the main talking point and then the film has the audacity to kill people off towards the end after a whole run time of nothingness, no build up, no real meaning or reason why. It was basically like watching the worst episode of Most Haunted to find one of your group dead on the floor at the end of it, planned, boring and drawn out far too long.
Shorten the run time, have a voice over, documentary coverage and film, DON'T kill anyone off at the end with some cheesy fake characters who no one now believes and have a genuine vigil, no pranks or set ups and this could of been a cool little paranormal programme.
Sadly none of the above happened. What a shame. A few sequels are in the works, shorten the duration, fix the countless problems and maybe, just maybe show some true paranormal / experiences and I guarantee it will be more of a success !