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BankofMarquis (1832 KP) rated The Iron Giant (1999) in Movies
Jun 14, 2020
A Warm Tale of Friendship
In the 1990's, it was rare for a studio besides Disney to release an animated film. So when Warner Brothers (home of Bugs Bunny) decided to release an animated film, everyone expected it to be some sort of "Looney Tunes" and were sorely disappointed when it was not.
And that is too bad...for the film that was released - THE IRON GIANT - is a wonderfully warm and heartwarming tale of friendship, acceptance and, yes, intolerance of those different from you, set against the backdrop of the Cold War of the 1950's.
Marking the full length feature animation Directing debut by Brad Bird (THE INCREDIBLES), THE IRON GIANT tells the tale of young Hogarth, who finds a...well...Iron Giant... who has fallen to Earth from Outer Space. Hogarth befriends The Iron Giant and helps to hide him from Military-types who see this as a threat to the safety, security and superiority of the United States.
Featuring the vocal talents of Jennifer Aniston, John Mahoney, Harry Connick, Jr., Christopher McDonald and Eli Marienthal (as Hogarth), this film is warm and inviting, showing "good characters" that you want to root for and spend time with spar with "bad guys" that you want to see defeated. All of this over a character that is naive to what is going on around him. Special notice should be made of Vin Diesel's vocal work as The Iron Giant. He says very few things, but the words that he does say, convey strong emotions.
You can see the seeds of THE INCREDIBLES in this work of Director Bird. The action sequences are fun and effective and are off-set by slower, more personal, scenes of the characters getting to know - and interact with - each other. He shows a deft touch in balancing these items, finding the right amount of pathos and pace throughout.
The main themes in this film - fearing that which you do not know/do not care to understand resonates to this day and is a reminder that kindness can go much further than fear/ignorance/intolerance.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
And that is too bad...for the film that was released - THE IRON GIANT - is a wonderfully warm and heartwarming tale of friendship, acceptance and, yes, intolerance of those different from you, set against the backdrop of the Cold War of the 1950's.
Marking the full length feature animation Directing debut by Brad Bird (THE INCREDIBLES), THE IRON GIANT tells the tale of young Hogarth, who finds a...well...Iron Giant... who has fallen to Earth from Outer Space. Hogarth befriends The Iron Giant and helps to hide him from Military-types who see this as a threat to the safety, security and superiority of the United States.
Featuring the vocal talents of Jennifer Aniston, John Mahoney, Harry Connick, Jr., Christopher McDonald and Eli Marienthal (as Hogarth), this film is warm and inviting, showing "good characters" that you want to root for and spend time with spar with "bad guys" that you want to see defeated. All of this over a character that is naive to what is going on around him. Special notice should be made of Vin Diesel's vocal work as The Iron Giant. He says very few things, but the words that he does say, convey strong emotions.
You can see the seeds of THE INCREDIBLES in this work of Director Bird. The action sequences are fun and effective and are off-set by slower, more personal, scenes of the characters getting to know - and interact with - each other. He shows a deft touch in balancing these items, finding the right amount of pathos and pace throughout.
The main themes in this film - fearing that which you do not know/do not care to understand resonates to this day and is a reminder that kindness can go much further than fear/ignorance/intolerance.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Movie Metropolis (309 KP) rated American Assassin (2017) in Movies
Jun 10, 2019
Great, another terrorism thriller
Just what the world needs, another ill-timed terrorism-based thriller – you can almost hear the groans can’t you? It seems the movie-going public just can’t get enough of these accounts of urban terrorism.
Last year’s diabolical London Has Fallen inexplicably took over $200million at the box office and the better-received Unlocked also performed well commercially. All of this in spite of the constant threat posed by terrorism across the globe.
Now, there’s a new kid on the block. American Assassin. But does this film based on the novel of the same name do enough to be different?
When Cold War veteran Stan Hurley (Michael Keaton) takes CIA black ops recruit Mitch Rapp (Dylan O’Brien) under his wing, they receive an assignment to investigate a wave of random attacks on both military and civilian targets. After discovering a pattern of violence, Hurley and Rapp join forces with a lethal Turkish agent to stop a mysterious operative who wants to start a global war.
Michael Cuesta’s film is propped up by a nicely shot opening in which Dylan O’Brien’s Mitch comes up against Islamic terrorists while on holiday with his fiancé. Naturally, she’s brutally murdered and it becomes Mitch’s life-ambition to hunt down terrorist cells across the world.
Yes, you heard me right. That’s the plot. Ridiculous in every way and frankly, a little boring, American Assassin is a poor excuse for a film riddled with dreadful dialogue, phoned-in performances and uninspiring camerawork.
What makes it worse is that Maze Runner rising star Dylan O’Brien thought it would be a good idea to helm such a vehicle. He performs well but feels at odds with the film’s dark tone and is in serious danger of doing a post-Abduction Taylor Lautner and tanking his promising career. Michael Keaton’s bizarre effort here is the polar opposite of his genuinely menacing turn in Spider-Man: Homecoming only two months ago.
The rest of the cast might as well be made of cardboard they’re that uninteresting and while globe-trotting should evoke some visual joy, the scenery feels flat, hampered by a dull colour palette and the fact it’s been done to death already.
As American Assassin steamrolls to a 70s-esque Bond finale, we’re subjected to some torturous CGI, though Cuesta does well to ramp up the tension a little, but it’s the subject matter once again that proves a sticking point.
In a world where our fears of urban terrorism are greater than ever, should we be classing films like this as ‘entertainment’? Take the opening sequence for example, as nicely choreographed as it is, the parallels to the dreadful Tunisian beach attack of 2015 linger in the back of my mind and I find it all very much in poor taste.
Overall, American Assassin is yet another addition to the already overstuffed terrorism thriller genre that adds absolutely nothing new. The performances are dull, the story is flat and the cinematography is uninspired. Poor Dylan O’Brien left the Maze for this?
https://moviemetropolis.net/2017/09/15/american-assassin-review/
Last year’s diabolical London Has Fallen inexplicably took over $200million at the box office and the better-received Unlocked also performed well commercially. All of this in spite of the constant threat posed by terrorism across the globe.
Now, there’s a new kid on the block. American Assassin. But does this film based on the novel of the same name do enough to be different?
When Cold War veteran Stan Hurley (Michael Keaton) takes CIA black ops recruit Mitch Rapp (Dylan O’Brien) under his wing, they receive an assignment to investigate a wave of random attacks on both military and civilian targets. After discovering a pattern of violence, Hurley and Rapp join forces with a lethal Turkish agent to stop a mysterious operative who wants to start a global war.
Michael Cuesta’s film is propped up by a nicely shot opening in which Dylan O’Brien’s Mitch comes up against Islamic terrorists while on holiday with his fiancé. Naturally, she’s brutally murdered and it becomes Mitch’s life-ambition to hunt down terrorist cells across the world.
Yes, you heard me right. That’s the plot. Ridiculous in every way and frankly, a little boring, American Assassin is a poor excuse for a film riddled with dreadful dialogue, phoned-in performances and uninspiring camerawork.
What makes it worse is that Maze Runner rising star Dylan O’Brien thought it would be a good idea to helm such a vehicle. He performs well but feels at odds with the film’s dark tone and is in serious danger of doing a post-Abduction Taylor Lautner and tanking his promising career. Michael Keaton’s bizarre effort here is the polar opposite of his genuinely menacing turn in Spider-Man: Homecoming only two months ago.
The rest of the cast might as well be made of cardboard they’re that uninteresting and while globe-trotting should evoke some visual joy, the scenery feels flat, hampered by a dull colour palette and the fact it’s been done to death already.
As American Assassin steamrolls to a 70s-esque Bond finale, we’re subjected to some torturous CGI, though Cuesta does well to ramp up the tension a little, but it’s the subject matter once again that proves a sticking point.
In a world where our fears of urban terrorism are greater than ever, should we be classing films like this as ‘entertainment’? Take the opening sequence for example, as nicely choreographed as it is, the parallels to the dreadful Tunisian beach attack of 2015 linger in the back of my mind and I find it all very much in poor taste.
Overall, American Assassin is yet another addition to the already overstuffed terrorism thriller genre that adds absolutely nothing new. The performances are dull, the story is flat and the cinematography is uninspired. Poor Dylan O’Brien left the Maze for this?
https://moviemetropolis.net/2017/09/15/american-assassin-review/
RəX Regent (349 KP) rated Godzilla (1954) in Movies
Feb 25, 2019
The beginning was inspired...
Contains spoilers, click to show
I was first introduced to Godzilla in cartoon form in the 1980′s as a child, but it wasn't until 1998, with Roland Emmerich's blockbuster reboot that I had seen the infamous beast on the pearl screen. I had also seem bits and bobs of the many original sequels as a child and they had made absolutely no impact on me what so ever! But I became aware of the significance of this, the original, only recently and it was due to this discovery that I hunted down the best copy available.
I ended up with the 2005 Region 1 release, which also includes the U.S. reworking from 1956, Godzilla: King Of The Monsters!. I could not have imagined that a the 1954 version of Godzilla, or more literally, Gojira, could have been so mature, so sombre, or so tempered with its sledgehammer philosophising. Produced just nine years after the devastating nuclear bombings of Hiroshima and Nagasaki, which effectively ended the Second World War, Gojira takes up the mantle on doing what Science Fiction does best, and created the cypher in the form of Godzilla, to represent the devastation left over from the nuking of these cities.
Godzilla is a nuclear beast, affected by U.S. nuclear tests and is now toxically radioactive and upon landfall on Tokyo, rains down, literally, nuclear destruction up on the city, in a manner not dissimilar too that levied upon either of the cities, Hiroshima or Nagasaki. But its not just about that. It about the creation of the next WMD which would ultimately be used against Godzilla but poses and moral dilemma that Robert Oppenheimer himself would appreciate, as to whether such a creation should be allowed to be developed. It also looks quite seriously into establishing the potential evolution of a creature such as Godzilla and uses plausible palaeontological arguments to justify his existence.
The pacing was good and though Godzilla strikes from almost the opening frame, there is a sense of an ongoing crisis rather than an impending apocalypse, with news outlets reporting throughout as plans, both military and civilian are sited.
All in all, this is not just the birth of the massive and largely corny and cheap Godzilla series, it is a striking, intelligent, moving and incredibly well judged masterpiece of 50′s cinema. But I should have known. Most rubbish franchises began with an inspired first movie, something to break the mould and this does the job perfectly.
But it isn't without its flaws. The special effects, though not all bad, are below par even for the time, but effective as for telling the story, some were very good with ALL being well conceived and ambitious. Some were very poor though, such as the model ships, which were unnecessarily below the standards and look like bath toys. But the cinematography was wonderful, with Honda shooting this in a classically manner. Tension was built brilliantly and the action rose to several crescendos and the excellent score by Akira Ifukube was not overused but brought to perfect effect when needed.
The acting was first-rate as well, proving Japanese cinemas reputation. But this was my first real foray into Japanese cinema, and what a treat it was. Many would look at this and see a cheap old film and others will see a film that whist let down by some less that brilliant visual effects and the fact that a lot of people, certainly in the U.K. find subtitles difficult, as a masterpiece not only of Eastern cinema but of cinema full stop. Truly realising its narrative and spirit, its cause and message. This was about a county in mourning not only for the hundreds of thousands lost by Fat Man and Little Boy, but for the war full stop. The 1950′s were a time of great political fear and reconstruction after WW2, and this is a film which taps into the brewing Cold War and fear of annihilation from human behemoths which once released can never be returned.
HIGHLY recommended but not for children as they will bore, miss the point, get put off by the subtitles, black and white and quite frankly its a mature and bleak film and not the 1998 remake. And thank God or Godzilla for that!
I ended up with the 2005 Region 1 release, which also includes the U.S. reworking from 1956, Godzilla: King Of The Monsters!. I could not have imagined that a the 1954 version of Godzilla, or more literally, Gojira, could have been so mature, so sombre, or so tempered with its sledgehammer philosophising. Produced just nine years after the devastating nuclear bombings of Hiroshima and Nagasaki, which effectively ended the Second World War, Gojira takes up the mantle on doing what Science Fiction does best, and created the cypher in the form of Godzilla, to represent the devastation left over from the nuking of these cities.
Godzilla is a nuclear beast, affected by U.S. nuclear tests and is now toxically radioactive and upon landfall on Tokyo, rains down, literally, nuclear destruction up on the city, in a manner not dissimilar too that levied upon either of the cities, Hiroshima or Nagasaki. But its not just about that. It about the creation of the next WMD which would ultimately be used against Godzilla but poses and moral dilemma that Robert Oppenheimer himself would appreciate, as to whether such a creation should be allowed to be developed. It also looks quite seriously into establishing the potential evolution of a creature such as Godzilla and uses plausible palaeontological arguments to justify his existence.
The pacing was good and though Godzilla strikes from almost the opening frame, there is a sense of an ongoing crisis rather than an impending apocalypse, with news outlets reporting throughout as plans, both military and civilian are sited.
All in all, this is not just the birth of the massive and largely corny and cheap Godzilla series, it is a striking, intelligent, moving and incredibly well judged masterpiece of 50′s cinema. But I should have known. Most rubbish franchises began with an inspired first movie, something to break the mould and this does the job perfectly.
But it isn't without its flaws. The special effects, though not all bad, are below par even for the time, but effective as for telling the story, some were very good with ALL being well conceived and ambitious. Some were very poor though, such as the model ships, which were unnecessarily below the standards and look like bath toys. But the cinematography was wonderful, with Honda shooting this in a classically manner. Tension was built brilliantly and the action rose to several crescendos and the excellent score by Akira Ifukube was not overused but brought to perfect effect when needed.
The acting was first-rate as well, proving Japanese cinemas reputation. But this was my first real foray into Japanese cinema, and what a treat it was. Many would look at this and see a cheap old film and others will see a film that whist let down by some less that brilliant visual effects and the fact that a lot of people, certainly in the U.K. find subtitles difficult, as a masterpiece not only of Eastern cinema but of cinema full stop. Truly realising its narrative and spirit, its cause and message. This was about a county in mourning not only for the hundreds of thousands lost by Fat Man and Little Boy, but for the war full stop. The 1950′s were a time of great political fear and reconstruction after WW2, and this is a film which taps into the brewing Cold War and fear of annihilation from human behemoths which once released can never be returned.
HIGHLY recommended but not for children as they will bore, miss the point, get put off by the subtitles, black and white and quite frankly its a mature and bleak film and not the 1998 remake. And thank God or Godzilla for that!
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Lyndsey Gollogly (2893 KP) rated Gods & Monsters ( Book 1) in Books
Feb 12, 2023
16 of 235
Kindle
Gods & Monsters ( Book 1)
By Janie Marie
⭐️⭐️⭐️
Monsters are real, legends are truth—and the man who saves Jane's life is an immortal knight. But it will be her secret past with the Angel of Death that changes everything.
Gods & Monsters - Book One
When the plague of all plagues begins its destruction, it isn't a miracle cure by scientists or even our military that saves us.
No, our saviors are monsters.
Jane appears to be nothing special. In fact, she's a sad sight to behold. Afflicted by the sorrow of her tragic past and failing marriage, the young mother of two is as terrified as every other soul when humanity faces doom. Yet, when hope seems lost, Jane does something even her estranged husband fails to--she fights. And she's not alone.
David and his companions are what our world has dismissed as mere legend. Their duty to the human race brings them across the country, and they all know it is no coincidence when they cross paths with Jane.
As it happens, Jane is special. She's destined to rid the world of darkness.
With monsters from every nightmare seeking her out, a noble immortal knight showing her what love truly feels like, a secret past that even Jane can't remember, and even more powerful beings wagering the fate of her soul, Jane will embark on an epic journey to save her family and the world.
So what will happen when they realize she's the greatest monster of them all?
Gods✔️ monsters ✔️ Arthur and his nights as immortals ✔️ what’s not to love right? Well I’m stuck as I wanted to give it 4 stars but there were a few draw backs for me the main one being it felt rushed in some places and sometimes abit over explained and slightly cheesy! But I absolutely love all the gods and mythology and all at war. All on sides you don’t expect I was enjoying the book then bam Hades and yea I’m a sucker for the God of the underworld!
Warnings: Triggers for abuse, sa, mental health disorders. Heavy violence, horror, strong language, emotional and controversial themes, sex, rape(not praised), will have multiple loves for the heroine.
Kindle
Gods & Monsters ( Book 1)
By Janie Marie
⭐️⭐️⭐️
Monsters are real, legends are truth—and the man who saves Jane's life is an immortal knight. But it will be her secret past with the Angel of Death that changes everything.
Gods & Monsters - Book One
When the plague of all plagues begins its destruction, it isn't a miracle cure by scientists or even our military that saves us.
No, our saviors are monsters.
Jane appears to be nothing special. In fact, she's a sad sight to behold. Afflicted by the sorrow of her tragic past and failing marriage, the young mother of two is as terrified as every other soul when humanity faces doom. Yet, when hope seems lost, Jane does something even her estranged husband fails to--she fights. And she's not alone.
David and his companions are what our world has dismissed as mere legend. Their duty to the human race brings them across the country, and they all know it is no coincidence when they cross paths with Jane.
As it happens, Jane is special. She's destined to rid the world of darkness.
With monsters from every nightmare seeking her out, a noble immortal knight showing her what love truly feels like, a secret past that even Jane can't remember, and even more powerful beings wagering the fate of her soul, Jane will embark on an epic journey to save her family and the world.
So what will happen when they realize she's the greatest monster of them all?
Gods✔️ monsters ✔️ Arthur and his nights as immortals ✔️ what’s not to love right? Well I’m stuck as I wanted to give it 4 stars but there were a few draw backs for me the main one being it felt rushed in some places and sometimes abit over explained and slightly cheesy! But I absolutely love all the gods and mythology and all at war. All on sides you don’t expect I was enjoying the book then bam Hades and yea I’m a sucker for the God of the underworld!
Warnings: Triggers for abuse, sa, mental health disorders. Heavy violence, horror, strong language, emotional and controversial themes, sex, rape(not praised), will have multiple loves for the heroine.
Darkness Falling (Light Up the Dark, #1)
10.0
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When the world goes dark, can true love light the way? Lex I seem like the luckiest witch in...
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