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Kirk Bage (1775 KP) rated Ford v Ferrari (aka Le Mans '66) (2019) in Movies
Jan 22, 2021 (Updated Jan 22, 2021)
Matt Damon asked Christian Bale how he had managed to lose almost 70lbs for his role as Ken Miles, following his chubbing up to play Dick Cheney in Vice the previous year. Bale just smiled, shrugged and said, “I didn’t eat”. Such is his reputation for playing real people with 100% commitment, apocryphal or not, I totally believe that is true.
Sports films, and especially racing films, hang on three things: the quality and believability of the sports/racing scenes, the dynamic tension between the lead characters, and the degree we are hooked by the underdog makes a comeback element. Le Mans ’66, also known as Ford V Ferrari for American audiences, who obviously can’t make sense of French or numbers, has all three of those boxes ticked, and several others besides.
It will make it easier for me to explain why I liked this film so much if I confess up front to how much I liked it, so without hesitation I confidently state… more than Rush (2013) and Grand Prix (1966), making it probably the best racing film ever, but less than Warrior (2011) or Rocky (1976), making it a contender for top 5 but not the best sports movie ever. So, that is pretty high praise from the flag-fall.
Let’s examine the 3 key elements in order. Firstly, the racing scenes: This film is based on real people in real races driving real cars, with very little altered or tweaked for dramatic purposes (save one key detail of the final race). It didn’t need anything adding, because the real story is incredible enough. Part of that is the very real rivalry that existed between the undisputed champions of the world’s most beautiful cars, Ferrari, representing everything essentially European, and the empire of mass production efficiency that was the Ford dynasty, representing everything American.
The reproductions of the cars themselves and the personalities behind them is vivid and believable from minute one, so when the cars hit the track you can almost smell the fuel and feel the heat and grime, not to mention the speed. Every shot on every straight and turn feels like it should, and would, if you yourself were driving: intense, terrifying, exhilarating and addictive!
At no point did I see anything unrealistic, or a piece of footage copied and pasted. No trick angles or overuse of time stretching techniques, what you see is mostly what you get, and if you understand car racing in even the most amateur way then that is impressive. Add to that a complete understanding of tension building during a race from a direction and acting point of view and you just have to tip your helmet visor to James Mangold and Christian Bale, who seem in complete synthesis about what is required from a racing scene.
Next, look at the chemistry between Damon’s laconic yet stubborn pragmatist, Carroll Shelby, and Bale’s idiosyncratic, twitchy adrenaline junky, Ken Miles. They couldn’t be more different, personality wise, or actually performance wise. Bale chews up the screen with another in a long line now of big bold characterisations that you can’t take your eyes off, and Damon gives off solid, dependable, trust-worthy movie-star vibes in return. Their scenes together are spiky, fun, compelling and feel authetic, in a Hollywood movie way that we recognise and love. It feels almost like Paul Newman and Jack Lemon – the handsome straight guy and the quirky foil.
I love both these actors when they bring their A game. And they do here. It is consummate film acting, completely in control of what kind of film they are making. Not a naturalistic drama hoping to sweep the Oscars and hit hard in the emotional solar plexus, but a fun sports film driven by the conventions and tropes of the genre. Both manage to keep it just the right side of fun and exciting, whilst holding the reigns on believability also. Mangold, who knows how both action (Logan) and Bio-pics (Walk the Line) work to a very high level, brings experience of both genres to the fore here, and the blend is sublime.
Finally, there is the underdog element. Both of these guys were unconventional mavericks, and well known as being so. Both respected, but never treated as champions as they deserved in their lifetime, perhaps because they were not yes men or company men, who toed the line and played by the rules of the big bosses of the sport. Both of them absolutely driven by compulsion and passion to win, yet both flawed on the ways they could achieve that.
Then there is the consideration how much the car is a character, or at least Ford as a concept. What makes this story so great is the David and Goliath element, that makes you sure there is no possible way this could be true. As with all great sports films, even if you know the history and result of a real event, the little guy sticking it to the invincible and arrogant behemoth, win, lose or draw, is what makes us invest and then cheer, or cry, when all the effort is finally spent.
Effort, sacrifice, overcoming obstacles, facing defeat, bouncing back from setbacks, gaining respect of friends and rivals alike – all these elements make a sports film great. Le Mans ’66 has it all, with the added bonus of enough budget to make it fly, which isn’t usually the case in this genre. It looks spectacular, feels exciting and is ultimately completely satisfying, as both a character study of real men, and a document of a game changing moment in sporting history.
It also doesn’t entirely ignore the female influence on such a masculine world; the little known Irish actress Catriona Balfe as Mollie Miles really caught my eye in some really tender scenes. This film won’t be passing the Bechdal test any time soon, however, as she is pretty much the only female member of the cast with an actual name! But it isn’t something to get too hung up about, in my opinion.
I’d be bold enough to recommend this to anyone. No need to love cars, or racing or even sport at all. If you love good movies that keep you hooked till the checkered flag of the credits, then look no further. High art? No. A proper movie with huge mass appeal? 100%
Sports films, and especially racing films, hang on three things: the quality and believability of the sports/racing scenes, the dynamic tension between the lead characters, and the degree we are hooked by the underdog makes a comeback element. Le Mans ’66, also known as Ford V Ferrari for American audiences, who obviously can’t make sense of French or numbers, has all three of those boxes ticked, and several others besides.
It will make it easier for me to explain why I liked this film so much if I confess up front to how much I liked it, so without hesitation I confidently state… more than Rush (2013) and Grand Prix (1966), making it probably the best racing film ever, but less than Warrior (2011) or Rocky (1976), making it a contender for top 5 but not the best sports movie ever. So, that is pretty high praise from the flag-fall.
Let’s examine the 3 key elements in order. Firstly, the racing scenes: This film is based on real people in real races driving real cars, with very little altered or tweaked for dramatic purposes (save one key detail of the final race). It didn’t need anything adding, because the real story is incredible enough. Part of that is the very real rivalry that existed between the undisputed champions of the world’s most beautiful cars, Ferrari, representing everything essentially European, and the empire of mass production efficiency that was the Ford dynasty, representing everything American.
The reproductions of the cars themselves and the personalities behind them is vivid and believable from minute one, so when the cars hit the track you can almost smell the fuel and feel the heat and grime, not to mention the speed. Every shot on every straight and turn feels like it should, and would, if you yourself were driving: intense, terrifying, exhilarating and addictive!
At no point did I see anything unrealistic, or a piece of footage copied and pasted. No trick angles or overuse of time stretching techniques, what you see is mostly what you get, and if you understand car racing in even the most amateur way then that is impressive. Add to that a complete understanding of tension building during a race from a direction and acting point of view and you just have to tip your helmet visor to James Mangold and Christian Bale, who seem in complete synthesis about what is required from a racing scene.
Next, look at the chemistry between Damon’s laconic yet stubborn pragmatist, Carroll Shelby, and Bale’s idiosyncratic, twitchy adrenaline junky, Ken Miles. They couldn’t be more different, personality wise, or actually performance wise. Bale chews up the screen with another in a long line now of big bold characterisations that you can’t take your eyes off, and Damon gives off solid, dependable, trust-worthy movie-star vibes in return. Their scenes together are spiky, fun, compelling and feel authetic, in a Hollywood movie way that we recognise and love. It feels almost like Paul Newman and Jack Lemon – the handsome straight guy and the quirky foil.
I love both these actors when they bring their A game. And they do here. It is consummate film acting, completely in control of what kind of film they are making. Not a naturalistic drama hoping to sweep the Oscars and hit hard in the emotional solar plexus, but a fun sports film driven by the conventions and tropes of the genre. Both manage to keep it just the right side of fun and exciting, whilst holding the reigns on believability also. Mangold, who knows how both action (Logan) and Bio-pics (Walk the Line) work to a very high level, brings experience of both genres to the fore here, and the blend is sublime.
Finally, there is the underdog element. Both of these guys were unconventional mavericks, and well known as being so. Both respected, but never treated as champions as they deserved in their lifetime, perhaps because they were not yes men or company men, who toed the line and played by the rules of the big bosses of the sport. Both of them absolutely driven by compulsion and passion to win, yet both flawed on the ways they could achieve that.
Then there is the consideration how much the car is a character, or at least Ford as a concept. What makes this story so great is the David and Goliath element, that makes you sure there is no possible way this could be true. As with all great sports films, even if you know the history and result of a real event, the little guy sticking it to the invincible and arrogant behemoth, win, lose or draw, is what makes us invest and then cheer, or cry, when all the effort is finally spent.
Effort, sacrifice, overcoming obstacles, facing defeat, bouncing back from setbacks, gaining respect of friends and rivals alike – all these elements make a sports film great. Le Mans ’66 has it all, with the added bonus of enough budget to make it fly, which isn’t usually the case in this genre. It looks spectacular, feels exciting and is ultimately completely satisfying, as both a character study of real men, and a document of a game changing moment in sporting history.
It also doesn’t entirely ignore the female influence on such a masculine world; the little known Irish actress Catriona Balfe as Mollie Miles really caught my eye in some really tender scenes. This film won’t be passing the Bechdal test any time soon, however, as she is pretty much the only female member of the cast with an actual name! But it isn’t something to get too hung up about, in my opinion.
I’d be bold enough to recommend this to anyone. No need to love cars, or racing or even sport at all. If you love good movies that keep you hooked till the checkered flag of the credits, then look no further. High art? No. A proper movie with huge mass appeal? 100%
Purple Phoenix Games (2266 KP) rated Agropolis in Tabletop Games
Sep 24, 2020
Being based on the Iowa/Illinois border, Purple Phoenix Games is definitely headquartered in the good ol’ Midwest. We are not without cities and modern amenities, as some might suspect, but we are certainly accustomed to seeing farm life, rural communities, and rolling fields of crops. Figuring out how exactly to organize your fields and crops is no easy task, and Agropolis is here to put you to the test!
Disclaimer: We were provided a copy of Agropolis for the purposes of this preview. The components are not yet finalized, and will probably change from what you see here to the finished Kickstarter campaign. Agropolis is a stand-alone expansion to the popular ButtonShy title, Sprawlopolis. We have reviewed Sprawlopolis (as both a Solo Chronicles, as well as Multiplayer) in the past, so I do not intend to rehash the entire ruleset in this preview. -L
In Agropolis, players are working cooperatively to create a cohesive and thriving rural community. The overall gameplay is the same as Sprawlopolis, with a few thematic differences. To begin the game, randomly select 3 cards to dictate the scoring conditions for your specific game. Deal 1 card to each player (3 to the starting player), and place one card face-up in the center of the table. On your turn, you will draw a card, play a card into the communal countryside, pass your remaining cards to the next player, and then draw a new card. The goal is to create a countryside that scores enough points to surpass the combined total of the 3 scoring condition cards.
Each card is divided into four zones: cornfields, livestock pens, orchards, and vineyards. The selected scoring condition cards determine how you can earn and lose points for your card/zone placements in the countryside. That’s where strategy comes into play – you can’t just place your cards wherever you want! There has to be a method to the madness, and each placement must be carefully selected for maximum end-game points. When all cards have been played, tally up your points – earning points for each zone, gaining/losing points for scoring conditions, and deducting points for roads. If your final score is higher than the total of the 3 scoring conditions combined, then you have won!
As a big fan of Sprawlopolis, I am happy to report that ButtonShy has done it again with Agropolis. The overall gameplay and atmosphere is the same between both games, which adds a comfort and familiarity to the game, but the thematic differences and scoring conditions make the game feel subtly unique. Aside from a country theme, Agropolis has an optional challenge known as the Feed Fee. Certain cards have a feedbag and livestock symbol underneath the card’s score, and all cards have a combination of livestock symbols at the bottom of the scoring description. To play with the Feed Fee, simply count the number of that specific type of livestock across all 3 scoring condition cards and add that to your scoring total. You might even have multiple Feed Fees in play for a single game! That is a new added challenge unique to Agropolis, and can really up the ante of the gameplay.
Our preview copy of Agropolis also came with a 6-card combo pack expansion that allows you to combine both Agropolis and Sprawlopolis into one big game. To play with the combo pack, randomly select one scoring condition card from the three decks: Agropolis, Sprawlopolis, and the combo pack. Randomly select another combo pack card to be the starting card of your city/country blended community. On your turn, you will draw 1 Agropolis card and 1 Sprawlopolis card. Play only one of those cards to the tableau, and the other is discarded. When both draw decks run out, the game is over and points are tallied. This combo game is uniquely challenging because you have scoring conditions from both games. You can’t focus on the city-side and let the country peter out, because at least one of the scoring condition cards calls for a country-specific goal. This combo pack takes the simplicity of both games and really ups the amount of strategy required for success. Definitely a combo I will be playing a lot!
All in all, how is Agropolis? The gameplay itself is simple, strategic, and satisfying to play. Although nearly identical to Sprawlopolis, the thematic differences and country-specific scoring conditions make the game feel new and refreshing. I absolutely love the 6-card combo pack to combine both games together. It just heightens the gameplay and strategic considerations, and takes it from a smaller game to something with a little more heft. Some people are all about that city life, but I think Agropolis will show you the beauty of the rural community. Be sure to check out the Kickstarter campaign, going live on Tuesday, September 29th!
Disclaimer: We were provided a copy of Agropolis for the purposes of this preview. The components are not yet finalized, and will probably change from what you see here to the finished Kickstarter campaign. Agropolis is a stand-alone expansion to the popular ButtonShy title, Sprawlopolis. We have reviewed Sprawlopolis (as both a Solo Chronicles, as well as Multiplayer) in the past, so I do not intend to rehash the entire ruleset in this preview. -L
In Agropolis, players are working cooperatively to create a cohesive and thriving rural community. The overall gameplay is the same as Sprawlopolis, with a few thematic differences. To begin the game, randomly select 3 cards to dictate the scoring conditions for your specific game. Deal 1 card to each player (3 to the starting player), and place one card face-up in the center of the table. On your turn, you will draw a card, play a card into the communal countryside, pass your remaining cards to the next player, and then draw a new card. The goal is to create a countryside that scores enough points to surpass the combined total of the 3 scoring condition cards.
Each card is divided into four zones: cornfields, livestock pens, orchards, and vineyards. The selected scoring condition cards determine how you can earn and lose points for your card/zone placements in the countryside. That’s where strategy comes into play – you can’t just place your cards wherever you want! There has to be a method to the madness, and each placement must be carefully selected for maximum end-game points. When all cards have been played, tally up your points – earning points for each zone, gaining/losing points for scoring conditions, and deducting points for roads. If your final score is higher than the total of the 3 scoring conditions combined, then you have won!
As a big fan of Sprawlopolis, I am happy to report that ButtonShy has done it again with Agropolis. The overall gameplay and atmosphere is the same between both games, which adds a comfort and familiarity to the game, but the thematic differences and scoring conditions make the game feel subtly unique. Aside from a country theme, Agropolis has an optional challenge known as the Feed Fee. Certain cards have a feedbag and livestock symbol underneath the card’s score, and all cards have a combination of livestock symbols at the bottom of the scoring description. To play with the Feed Fee, simply count the number of that specific type of livestock across all 3 scoring condition cards and add that to your scoring total. You might even have multiple Feed Fees in play for a single game! That is a new added challenge unique to Agropolis, and can really up the ante of the gameplay.
Our preview copy of Agropolis also came with a 6-card combo pack expansion that allows you to combine both Agropolis and Sprawlopolis into one big game. To play with the combo pack, randomly select one scoring condition card from the three decks: Agropolis, Sprawlopolis, and the combo pack. Randomly select another combo pack card to be the starting card of your city/country blended community. On your turn, you will draw 1 Agropolis card and 1 Sprawlopolis card. Play only one of those cards to the tableau, and the other is discarded. When both draw decks run out, the game is over and points are tallied. This combo game is uniquely challenging because you have scoring conditions from both games. You can’t focus on the city-side and let the country peter out, because at least one of the scoring condition cards calls for a country-specific goal. This combo pack takes the simplicity of both games and really ups the amount of strategy required for success. Definitely a combo I will be playing a lot!
All in all, how is Agropolis? The gameplay itself is simple, strategic, and satisfying to play. Although nearly identical to Sprawlopolis, the thematic differences and country-specific scoring conditions make the game feel new and refreshing. I absolutely love the 6-card combo pack to combine both games together. It just heightens the gameplay and strategic considerations, and takes it from a smaller game to something with a little more heft. Some people are all about that city life, but I think Agropolis will show you the beauty of the rural community. Be sure to check out the Kickstarter campaign, going live on Tuesday, September 29th!
Kirk Bage (1775 KP) rated Bohemian Rhapsody (2018) in Movies
Mar 3, 2020
In the search for a way to watch the 92nd Academy Awards live from Hollywood tonight I was led to a subscription for Now TV, which is basically the online platform for Sky Cinema. And there I found all the missing films I had yet to see from last year that aren’t available “free” on Amazon Prime or Netflix. I should really have worked it out before now that a free trial might be available, having assumed that a Sky subscription was beyond my means at the moment. Imagine my excitement to not only secure the Oscars but a 7 day pass to catch up on some big titles. It’s the small things in life…
Having made a 20 strong watch list, I wasted no time in heading straight for the Queen biopic, Bohemian Rhapsody, winner of 4 awards last February, including one for Rami Malek as Freddy Mercury that I applauded very loudly at the time, without having seen it, due to my love for him as Elliot Alderson in my favourite TV show of the last 5 years, the incredible and mindbendingly brilliant Mr. Robot.
My connection to Queen as a fan isn’t an especially strong one; I have always thought they were fine, and enjoyed their biggest hits as much as anyone. But it is the story, charisma and undeniable singing talent of Mercury that attracts me. From the opening scenes it is apparent that what we are going to get here is a fairly straightforward, by the numbers recounting of events, punctuated by some serious tunes and some glorious 70s fashions. Having read that this was the main criticism of it going in, it really didn’t bother me at all to find it wasn’t going to make bolder artistic and dramatic choices. It was very much about sitting back and enjoying the show!
In fact, there is something comforting and unchallenging about its format that I liked. The pattern of abc that is a) some background to Freddy’s life, b) a build up to how they came across their big hits, and c) a rendition of that hit, didn’t strike me as cheap, but rather unpretentious and to the point. The whole thing clipped along nicely with very little dead air; Malek is a joy to watch in every moment; the clothes and scenery of the 70s and later 80s is a treat; and the music stands for itself, with you often forgetting how good the tunes are until you hear them in this context.
Of course, at times it is almost laughable how well known facts and details are crow-barred into the narrative, with some of the darker elements glossed over, as if this were almost a Disney retelling. But, again, it doesn’t matter, because as an entertainment it is all so enjoyable. Not to say the dark side of the story isn’t touched upon, because it is to an extent, just that it is clear this is a celebration of a life and a talent, not an exposé. Which is fine. As with the superior Walk The Line, and the recently inferior Rocketman, we know a seedier story of Johnny Cash and Elton John exists, but we accept that revelling in the genius of the music is more fun than trawling through the trash.
Malek is a wonder to behold! It has to be said. Once you (and he) get used to the false teeth and bite down on the energy and drive of Mercury, it is impossible to take your eyes off him! He handles the dramatic moments and nuance of this fragile mind with ease, but it is the performances that stand out: his movement is so fluid and accurate that you forget at times you aren’t watching archive footage, which is some trick! Gwilym Lee and Ben Hardy as Brian May and Roger Taylor are also to be praised for this, despite having less to do. With Joseph Mazzello as John Deacon largely merging into the background inoffensively, much as his real life counterpart did.
There is some solid support too. Lucy Boynton is completely charming if largely uninteresting; Tom Hollander quietly steals several scenes as the lawyer who doesn’t just work for them but idolises them as much as any fan; and an unrecognisable Mike Myers is a lot of fun as the manager who missed out on the vision and lives to regret it. Honourable mention also to Allen Leech as the villain of the piece, who walks the tightrope of cartoonish nastiness with some skill, serving the story well in the latter half.
My favourites parts were, unsurprisingly, the genesis and evolution of the big tunes, which was invariably very satisfying. Love of My Life, We Will Rock You, We are the Champions and of course Bohemian Rhapsody are treated like holy texts, with fascinating detail and a reverence that never seems over-egged. Building to the climax of Live Aid; a twenty minute segment at the end of the film that brings a genuine lump to the throat. The magnitude of the event and its natural energy are so well realised, every minor foible of the film up to that point are forgiven, and you walk away from it feeling elated and glad that this moment exists in music history.
Artistically, it isn’t a movie to get too caried away about, but the art of creating a spectacle that pleases on a basic, uncomplicated level is. Director Bryan Singer knows a trick or two, and the trick here is what is left out. There just isn’t a moment to be bored, and I find myself wishing that films of this kind took a leaf out of that book more often. In conclusion, I think this movie will endure the test of time, which is a lot more than most biopic genre films can say. But who wants to live forever anyway?
Having made a 20 strong watch list, I wasted no time in heading straight for the Queen biopic, Bohemian Rhapsody, winner of 4 awards last February, including one for Rami Malek as Freddy Mercury that I applauded very loudly at the time, without having seen it, due to my love for him as Elliot Alderson in my favourite TV show of the last 5 years, the incredible and mindbendingly brilliant Mr. Robot.
My connection to Queen as a fan isn’t an especially strong one; I have always thought they were fine, and enjoyed their biggest hits as much as anyone. But it is the story, charisma and undeniable singing talent of Mercury that attracts me. From the opening scenes it is apparent that what we are going to get here is a fairly straightforward, by the numbers recounting of events, punctuated by some serious tunes and some glorious 70s fashions. Having read that this was the main criticism of it going in, it really didn’t bother me at all to find it wasn’t going to make bolder artistic and dramatic choices. It was very much about sitting back and enjoying the show!
In fact, there is something comforting and unchallenging about its format that I liked. The pattern of abc that is a) some background to Freddy’s life, b) a build up to how they came across their big hits, and c) a rendition of that hit, didn’t strike me as cheap, but rather unpretentious and to the point. The whole thing clipped along nicely with very little dead air; Malek is a joy to watch in every moment; the clothes and scenery of the 70s and later 80s is a treat; and the music stands for itself, with you often forgetting how good the tunes are until you hear them in this context.
Of course, at times it is almost laughable how well known facts and details are crow-barred into the narrative, with some of the darker elements glossed over, as if this were almost a Disney retelling. But, again, it doesn’t matter, because as an entertainment it is all so enjoyable. Not to say the dark side of the story isn’t touched upon, because it is to an extent, just that it is clear this is a celebration of a life and a talent, not an exposé. Which is fine. As with the superior Walk The Line, and the recently inferior Rocketman, we know a seedier story of Johnny Cash and Elton John exists, but we accept that revelling in the genius of the music is more fun than trawling through the trash.
Malek is a wonder to behold! It has to be said. Once you (and he) get used to the false teeth and bite down on the energy and drive of Mercury, it is impossible to take your eyes off him! He handles the dramatic moments and nuance of this fragile mind with ease, but it is the performances that stand out: his movement is so fluid and accurate that you forget at times you aren’t watching archive footage, which is some trick! Gwilym Lee and Ben Hardy as Brian May and Roger Taylor are also to be praised for this, despite having less to do. With Joseph Mazzello as John Deacon largely merging into the background inoffensively, much as his real life counterpart did.
There is some solid support too. Lucy Boynton is completely charming if largely uninteresting; Tom Hollander quietly steals several scenes as the lawyer who doesn’t just work for them but idolises them as much as any fan; and an unrecognisable Mike Myers is a lot of fun as the manager who missed out on the vision and lives to regret it. Honourable mention also to Allen Leech as the villain of the piece, who walks the tightrope of cartoonish nastiness with some skill, serving the story well in the latter half.
My favourites parts were, unsurprisingly, the genesis and evolution of the big tunes, which was invariably very satisfying. Love of My Life, We Will Rock You, We are the Champions and of course Bohemian Rhapsody are treated like holy texts, with fascinating detail and a reverence that never seems over-egged. Building to the climax of Live Aid; a twenty minute segment at the end of the film that brings a genuine lump to the throat. The magnitude of the event and its natural energy are so well realised, every minor foible of the film up to that point are forgiven, and you walk away from it feeling elated and glad that this moment exists in music history.
Artistically, it isn’t a movie to get too caried away about, but the art of creating a spectacle that pleases on a basic, uncomplicated level is. Director Bryan Singer knows a trick or two, and the trick here is what is left out. There just isn’t a moment to be bored, and I find myself wishing that films of this kind took a leaf out of that book more often. In conclusion, I think this movie will endure the test of time, which is a lot more than most biopic genre films can say. But who wants to live forever anyway?
Mothergamer (1598 KP) rated Birth of the Dragon (2016) in Movies
Apr 3, 2019
At first I was curious about the movie that was meant to be about Bruce Lee titled Birth of the Dragon. I love Bruce Lee. I grew up watching his movies, I watched episodes of The Green Hornet, and I voraciously read everything I could about him. One of my titos (that's Tagalog for uncle) told me about how he met Bruce Lee before and how kind he was. I am Filipino and white so I grew up with both these cultures and I'm grateful for it. My family has all kinds of people from all over and all walks of life and I love them dearly. When I would visit my Filipino family I loved that we would often gather round together on the couch with popcorn and snacks and watch Bruce Lee movies. This was special and it's one of my favorite memories from my childhood. I would watch Kung Fu Saturday when I was a kid and I would be excited when they would feature a Bruce Lee movie. My grandparents weren't really into it, but they would watch with me and my brother Rob sometimes.
I will always love Bruce Lee and his movies. He was an incredible person and so talented. Watching his movies was a huge part of my childhood and when I see that there's a Bruce Lee movie on, I always watch it.
I didn't know anything about Birth of the Dragon. There was a trailer that looked interesting. Then I kept hearing negative things about the film such as it's racist towards Asians and they made Bruce Lee the secondary character yet claimed it was a biopic about him. Then I read this: http://www.asamnews.com/2016/09/29/birth-of-the-dragon-biopic-enrages-bruce-lee-fans-buries-asians-in-favor-of-a-white-guy/
Birth of the Dragon is disappointing to me for this. It IS insulting to Asians and if we're really being brutally honest, it IS insulting not only to Bruce Lee, but to his family and friends who loved him. I don't understand making the white guy the main character when this was shopped as a Bruce Lee biopic. On top of this, it seems they made Bruce Lee appear to be this very one sided character who was just arrogant and stupid and it's simply not true. While Lee himself owned up to being foolish when he was younger, he was never stupid. Bruce Lee thought about each and every thing he did and in his movies there was always a political theme and the ideas expressed were intricate and well thought out. They provoked ideas and discussions as well as entertained. Read any of his books on martial arts and you see a deep philosophy and calm practicality to his teachings that show someone who was an incredibly thoughtful person.
The Filipino kid in me is extremely disappointed by this and a little angry too because Bruce Lee is one of my heroes and I'm disgusted by what appears to be blatantly anti-Asian propaganda in a film that was being sold as a biopic about him. This is irresponsible and Asian people have every right to be angry about this because once again Hollywood is shoving us into the background and telling us we're not as important because we're not white. I loved Bruce Lee because he was amazing and I loved that there was an Asian person who was the main character in his movies; someone like me and my brothers and my sister. That meant something to me and it still does. The people who made this movie should apologize for the horrible lie they told about this being a biopic about Bruce Lee and at least be honest about what it really is a film stating that white people are better than us. We'll never get that apology of course because these are the kinds of people who run Hollywood and have for years. I do know that I for one will not see this film and I will watch Bruce Lee's movies and celebrate the amazing person he was.
I will always love Bruce Lee and his movies. He was an incredible person and so talented. Watching his movies was a huge part of my childhood and when I see that there's a Bruce Lee movie on, I always watch it.
I didn't know anything about Birth of the Dragon. There was a trailer that looked interesting. Then I kept hearing negative things about the film such as it's racist towards Asians and they made Bruce Lee the secondary character yet claimed it was a biopic about him. Then I read this: http://www.asamnews.com/2016/09/29/birth-of-the-dragon-biopic-enrages-bruce-lee-fans-buries-asians-in-favor-of-a-white-guy/
Birth of the Dragon is disappointing to me for this. It IS insulting to Asians and if we're really being brutally honest, it IS insulting not only to Bruce Lee, but to his family and friends who loved him. I don't understand making the white guy the main character when this was shopped as a Bruce Lee biopic. On top of this, it seems they made Bruce Lee appear to be this very one sided character who was just arrogant and stupid and it's simply not true. While Lee himself owned up to being foolish when he was younger, he was never stupid. Bruce Lee thought about each and every thing he did and in his movies there was always a political theme and the ideas expressed were intricate and well thought out. They provoked ideas and discussions as well as entertained. Read any of his books on martial arts and you see a deep philosophy and calm practicality to his teachings that show someone who was an incredibly thoughtful person.
The Filipino kid in me is extremely disappointed by this and a little angry too because Bruce Lee is one of my heroes and I'm disgusted by what appears to be blatantly anti-Asian propaganda in a film that was being sold as a biopic about him. This is irresponsible and Asian people have every right to be angry about this because once again Hollywood is shoving us into the background and telling us we're not as important because we're not white. I loved Bruce Lee because he was amazing and I loved that there was an Asian person who was the main character in his movies; someone like me and my brothers and my sister. That meant something to me and it still does. The people who made this movie should apologize for the horrible lie they told about this being a biopic about Bruce Lee and at least be honest about what it really is a film stating that white people are better than us. We'll never get that apology of course because these are the kinds of people who run Hollywood and have for years. I do know that I for one will not see this film and I will watch Bruce Lee's movies and celebrate the amazing person he was.
Purple Phoenix Games (2266 KP) rated Mitropia in Tabletop Games
Apr 21, 2020
Have you ever had a crush on someone and just wanted to surround them with your presence? Too creepy? Okay, have you ever been at odds with your sworn enemies and learned to settle your differences by transporting yourselves to the plane of the gods to engage in a battle of strategic placement and enveloping in order to determine supremacy? Too specific? Well, the latter is the premise for the game Mitropia.
Mitropia is an area majority game that can end in several fashions. To setup your first game, please use the setup instructions in the rule book to form the playing area. However, the more you play, the more you might like to change it up and try out some wacky board formations. Every player receives a player mat featuring a tribe with different special abilities. They will each also receive the matching colored warrior tokens (and bag if present), cards from the two decks according to the setup in the rules. Each player will place their chieftan (two stacked warrior tokens) on the board. The game is ready to be played!
DISCLAIMER: We were provided a near-retail prototype copy of this game for the purposes of this review. These are preview copy components, and I know the final components will be a little different from these shown (upgrades!). Also, it is not my intention to detail every rule in the game – and the rules will certainly be tweaked from this version and the rules we used to play it. You are invited to download the rulebook from the publisher’s website, back the game through the Kickstarter campaign running April 16 – May 17, 2020, purchase it from your FLGS, or through any retailers stocking it after fulfillment. -T
Game play is relatively simple. Players are attempting to score points by occupying and/or surrounding terrain tiles. Some tiles are worth more points than others depending on tribe abilities and other factors. The game ends once there are no more legal plays, all players have passed, or a chieftan has been captured by an opponent. Points are then tallied and a victor is determined.
On a turn, a player will make a “move,” which is a strange term as the player is actually placing out a warrior token. The placement of the warrior is dependent upon a move pattern card that is showing on the player mat, or one from the player’s hand to be discarded. These move cards show where the warrior can be placed (like Onitama‘s movement cards). Move cards can be combined with special action cards to make interesting warrior placement upon the board. Again, the goal of the game is to encompass as much terrain as possible, and surround your opponents to capture their warrior tokens.
In addition to simply placing out new warriors to claim lands and surround opponents, using terrain types to their fullest is a strategy not to be ignored. Wormholes are teleport locations, and mountains are impassable. Using just these features can wreak havoc on unsuspecting opponents. Mountains can especially be brutal when being used as an obstacle to facilitate surrounding enemies. When you play Mitropia be warned: mind the mountains.
Play continues in turns until a win condition or game end condition has been met. The players tally points to declare a victor, and then setup to play again for the player will definitely want to play another.
Components. Again, this is a near-retail prototype copy, so the components are very close to what will be available and in each box upon a successful Kickstarter campaign. That said, these components are amazing! I told the publisher the day after receiving the game that I was very impressed with what was packed in the box. Now, I haven’t been able to Tetris the components back in the box and have the cover fit flush since I opened it, but what is inside the box truly is wonderful. The player discs are all nicely-painted wood bits. The player mats, cards, and terrain tiles are all great quality. The art on everything is super stellar, and I just love playing with everything! You know the feeling when you’re playing a game that just has that perfect tactile quality? That’s Mitropia. And this copy isn’t even upgraded!
So here are my thoughts on this beast. I have never played Go, and I’m not really sure I want to after having Mitropia in my hands. I probably will play Go sometime, but I can only picture myself wishing I had been playing Mitropia. There is just something about having special abilities and slight differences that really improves my enjoyment. I love being able to see my turns several rounds in advance, but then having to switch tactics because an opponent has thwarted my evil plan at the last moment. I love being able to sit and think about my plays. I do not suffer from analysis paralysis, and this is a caveat I have for the game – do NOT play with AP-prone opponents. There is a lot going on here and so many options on a turn. AP sufferers can just stare at the board frightened of playing the wrong move or deciding whether or not to play a special ability card. However, I think this is a fantastic game with an excellent theme overlaid. If you are looking for a thematic game of Go that looks beautiful, is colorful instead of boring, allows players to have special powers and abilities, card play similar to the award-winning Onitama, then you certainly owe it to yourself to give a look at Mitropia. Please head over to the Kickstarter campaign that ends May 17, 2020 and check it out to learn even more and see what others are saying about it. I will be guarding my copy like you wouldn’t believe.
Mitropia is an area majority game that can end in several fashions. To setup your first game, please use the setup instructions in the rule book to form the playing area. However, the more you play, the more you might like to change it up and try out some wacky board formations. Every player receives a player mat featuring a tribe with different special abilities. They will each also receive the matching colored warrior tokens (and bag if present), cards from the two decks according to the setup in the rules. Each player will place their chieftan (two stacked warrior tokens) on the board. The game is ready to be played!
DISCLAIMER: We were provided a near-retail prototype copy of this game for the purposes of this review. These are preview copy components, and I know the final components will be a little different from these shown (upgrades!). Also, it is not my intention to detail every rule in the game – and the rules will certainly be tweaked from this version and the rules we used to play it. You are invited to download the rulebook from the publisher’s website, back the game through the Kickstarter campaign running April 16 – May 17, 2020, purchase it from your FLGS, or through any retailers stocking it after fulfillment. -T
Game play is relatively simple. Players are attempting to score points by occupying and/or surrounding terrain tiles. Some tiles are worth more points than others depending on tribe abilities and other factors. The game ends once there are no more legal plays, all players have passed, or a chieftan has been captured by an opponent. Points are then tallied and a victor is determined.
On a turn, a player will make a “move,” which is a strange term as the player is actually placing out a warrior token. The placement of the warrior is dependent upon a move pattern card that is showing on the player mat, or one from the player’s hand to be discarded. These move cards show where the warrior can be placed (like Onitama‘s movement cards). Move cards can be combined with special action cards to make interesting warrior placement upon the board. Again, the goal of the game is to encompass as much terrain as possible, and surround your opponents to capture their warrior tokens.
In addition to simply placing out new warriors to claim lands and surround opponents, using terrain types to their fullest is a strategy not to be ignored. Wormholes are teleport locations, and mountains are impassable. Using just these features can wreak havoc on unsuspecting opponents. Mountains can especially be brutal when being used as an obstacle to facilitate surrounding enemies. When you play Mitropia be warned: mind the mountains.
Play continues in turns until a win condition or game end condition has been met. The players tally points to declare a victor, and then setup to play again for the player will definitely want to play another.
Components. Again, this is a near-retail prototype copy, so the components are very close to what will be available and in each box upon a successful Kickstarter campaign. That said, these components are amazing! I told the publisher the day after receiving the game that I was very impressed with what was packed in the box. Now, I haven’t been able to Tetris the components back in the box and have the cover fit flush since I opened it, but what is inside the box truly is wonderful. The player discs are all nicely-painted wood bits. The player mats, cards, and terrain tiles are all great quality. The art on everything is super stellar, and I just love playing with everything! You know the feeling when you’re playing a game that just has that perfect tactile quality? That’s Mitropia. And this copy isn’t even upgraded!
So here are my thoughts on this beast. I have never played Go, and I’m not really sure I want to after having Mitropia in my hands. I probably will play Go sometime, but I can only picture myself wishing I had been playing Mitropia. There is just something about having special abilities and slight differences that really improves my enjoyment. I love being able to see my turns several rounds in advance, but then having to switch tactics because an opponent has thwarted my evil plan at the last moment. I love being able to sit and think about my plays. I do not suffer from analysis paralysis, and this is a caveat I have for the game – do NOT play with AP-prone opponents. There is a lot going on here and so many options on a turn. AP sufferers can just stare at the board frightened of playing the wrong move or deciding whether or not to play a special ability card. However, I think this is a fantastic game with an excellent theme overlaid. If you are looking for a thematic game of Go that looks beautiful, is colorful instead of boring, allows players to have special powers and abilities, card play similar to the award-winning Onitama, then you certainly owe it to yourself to give a look at Mitropia. Please head over to the Kickstarter campaign that ends May 17, 2020 and check it out to learn even more and see what others are saying about it. I will be guarding my copy like you wouldn’t believe.
Kristy H (1252 KP) rated Dear Mr. M in Books
Feb 13, 2018
"M" is a famous writer whose best days are probably, if truth be told, behind him. He's best known for his novel, Payback, which tells the story of a high school history teacher, Mr. Landzaat, who went missing one winter after having an affair with one of his female students. That student, Laura, had moved on to a relationship with a boy her own age, Herman. The two were staying at a vacation cottage and were the last ones to see their teacher. Did they have something to do with his disappearance? Now, M lives with his beautiful (much younger) wife and little daughter in an apartment. They have a neighbor who seems to have a odd fascination with the couple, but why? The novel weaves together the tales of these disparate characters.
I had heard a lot about Koch's novels and was excited to win this one via a Goodreads Giveaway. It was certainly interesting and definitely different than many novels I read. I have to admit that it was a rather slow read, especially the first three quarters or so. There was actually a point where I was considering giving up for a bit, but I soldiered on. Some characters in the novels never have names (just initials), and we don't really get insight into who our varying narrators are. While I understand why (and it adds to the drama of the novel), I'll confess that it gets a little confusing at times. You really have to stay on your toes as you read.
Still, the novel is definitely more compelling toward the end, and I found myself staying up late to finish it. The twist at the end was certainly not what I expected. The varying viewpoints wind up working out well, as you really see the story unfold from everyone's perspective. Still, I found the story a bit diluted by a bit of a "meta" storyline about writers, as well as an odd insertion about M's father and his role in the resistance, as well as M's own views, which never really seemed to have a full role or point in the tale. I enjoyed the novel, but I didn't love it, and it (frankly) exhausted me a bit.
I received a copy of this novel via a Goodreads Giveaway (thank you!) in return for an unbiased review.
I had heard a lot about Koch's novels and was excited to win this one via a Goodreads Giveaway. It was certainly interesting and definitely different than many novels I read. I have to admit that it was a rather slow read, especially the first three quarters or so. There was actually a point where I was considering giving up for a bit, but I soldiered on. Some characters in the novels never have names (just initials), and we don't really get insight into who our varying narrators are. While I understand why (and it adds to the drama of the novel), I'll confess that it gets a little confusing at times. You really have to stay on your toes as you read.
Still, the novel is definitely more compelling toward the end, and I found myself staying up late to finish it. The twist at the end was certainly not what I expected. The varying viewpoints wind up working out well, as you really see the story unfold from everyone's perspective. Still, I found the story a bit diluted by a bit of a "meta" storyline about writers, as well as an odd insertion about M's father and his role in the resistance, as well as M's own views, which never really seemed to have a full role or point in the tale. I enjoyed the novel, but I didn't love it, and it (frankly) exhausted me a bit.
I received a copy of this novel via a Goodreads Giveaway (thank you!) in return for an unbiased review.
BookInspector (124 KP) rated The Girl Next Door in Books
Sep 24, 2020
The story is told from multiple perspectives. Clare is the murdered girl, and she is telling about her life events up to her murder. Jane is Clare’s neighbour, and an example of status, beauty, perfect family, and everybody wants to be her. DS Madeline Shaw is a police officer, investigating Clare’s death. So, we have quite an interesting mix of characters in this book, some flashy and some plain, but the combination of all makes a really great read. For me, the most interesting of all is Jane. She is very deceiving and full of surprises. Even though Jane’s character was very well delivered, some thoughts got a little repetitive at times, which didn’t increase the suspense levels for me as it supposed to but annoyed me a little instead.
I think this novel is more character driven than the plot itself. The investigation is happening, but not many clues are there to go by. The action concentrates around Jane, her family, her thoughts, and her relationship with the community. The suspense was very well kept throughout the book, and the unexpected twists and major turns made this novel a very superb read. I think that the author’s life in the countryside was very well utilized in this book. She portrayed it very well, and I could feel that small community’s spirit. The main topics discussed in this novel was the mother’s love for her children, the importance of the family’s image in a small town, a woman’s dedication to her family, etc.
Phoebe Morgan knows how to attract the reader, the novel is not only very well written but very well constructed as well. The multiple perspectives allowed to have an insight into different people’s minds, lives, and made the reading experience very pleasant, followed by short chapters, and twists and turns in all the right places. She truly knows what she is doing. The ending was unexpected and rounded up the story well, but I wasn’t very happy with the justice aspect of it. 🙂
So, to conclude, I really enjoyed this thriller, filled with very sophisticated and amusing characters and a very deceiving and knotty plot, where things are not as it seems. Do give this book a read, it is truly absorbing, and I hope you will enjoy it as much as I did.
I think this novel is more character driven than the plot itself. The investigation is happening, but not many clues are there to go by. The action concentrates around Jane, her family, her thoughts, and her relationship with the community. The suspense was very well kept throughout the book, and the unexpected twists and major turns made this novel a very superb read. I think that the author’s life in the countryside was very well utilized in this book. She portrayed it very well, and I could feel that small community’s spirit. The main topics discussed in this novel was the mother’s love for her children, the importance of the family’s image in a small town, a woman’s dedication to her family, etc.
Phoebe Morgan knows how to attract the reader, the novel is not only very well written but very well constructed as well. The multiple perspectives allowed to have an insight into different people’s minds, lives, and made the reading experience very pleasant, followed by short chapters, and twists and turns in all the right places. She truly knows what she is doing. The ending was unexpected and rounded up the story well, but I wasn’t very happy with the justice aspect of it. 🙂
So, to conclude, I really enjoyed this thriller, filled with very sophisticated and amusing characters and a very deceiving and knotty plot, where things are not as it seems. Do give this book a read, it is truly absorbing, and I hope you will enjoy it as much as I did.
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LeftSideCut (3776 KP) rated Nobody Sleeps in the Woods Tonight (2020) in Movies
Oct 29, 2020 (Updated Oct 29, 2020)
Contains spoilers, click to show
As a starting note, please please please watch this film with the audio set to Polish with subtitles. Netflix started playing the dubbed version for me, and I managed about 30 seconds worth of cheesy American voice over before I couldn't stand it any longer. It's 100% more natural the way it was intended.
Nobody Sleeps in the Woods tonight is absolutely and wholly not original - it cherry picks parts from other horror movies and shamelessly imitates them, and do you know what? I don't hate it.
The whole movie is shot nicely, especially taking into account it's low budget.
Among these moments we have:
- A sleeping bag kill ripped straight out of Friday the 13th Part VII.
- A character explaining the rules of horror movies just like in Scream.
- A character tied to a chair and ballgagged a la Hostel.
- Big cannabalistic, dungaree wearing woodsman straight out of Wrong Turn.
- A cut-in-half-vertically-with-an-axe kill from Wrong Turn 2, using the same damn camera angle and everything.
- A character going through a woodchipper like in Tucker and Dale vs Evil
- An under the bed shot of someone being stabbed repeatedly with a machete, just like in Freddy vs Jason.
So yeah, absolutely zero points for originality, but props for executing it all to a satisfactory degree. A less cynical person could choose to look at it as a horror love letter, rather than a rip off.
Some of the camerawork is genuinely fantastic. There are multiple shots during the runtime that are quite captivating, and took me out of the standard slasher situation now and again.
The make up effects applied to the monster men are pretty good, and the movie delivers some pretty brutal gore. It's hard to fully tell, but it looked like a fair chunk of it was practical, which is always a bonus.
The characters are likable as well, especially the badass final girl Zodiac, played awesomely by Julia Wieniawa-Narkiewicz.
The film also touches on some social issues, such as the perception of homosexuality in Poland. It's a shame it's not explored further than a few lines of dialogue.
Nobody Sleeps in the Woods may be down right predictable, but if you can leave any cynicism at the door, then it's a pretty fun slasher to pass the time.
As my first foray into Polish horror, I found it mostly enjoyable. Worth checking out for any horror fans.
Nobody Sleeps in the Woods tonight is absolutely and wholly not original - it cherry picks parts from other horror movies and shamelessly imitates them, and do you know what? I don't hate it.
The whole movie is shot nicely, especially taking into account it's low budget.
Among these moments we have:
- A sleeping bag kill ripped straight out of Friday the 13th Part VII.
- A character explaining the rules of horror movies just like in Scream.
- A character tied to a chair and ballgagged a la Hostel.
- Big cannabalistic, dungaree wearing woodsman straight out of Wrong Turn.
- A cut-in-half-vertically-with-an-axe kill from Wrong Turn 2, using the same damn camera angle and everything.
- A character going through a woodchipper like in Tucker and Dale vs Evil
- An under the bed shot of someone being stabbed repeatedly with a machete, just like in Freddy vs Jason.
So yeah, absolutely zero points for originality, but props for executing it all to a satisfactory degree. A less cynical person could choose to look at it as a horror love letter, rather than a rip off.
Some of the camerawork is genuinely fantastic. There are multiple shots during the runtime that are quite captivating, and took me out of the standard slasher situation now and again.
The make up effects applied to the monster men are pretty good, and the movie delivers some pretty brutal gore. It's hard to fully tell, but it looked like a fair chunk of it was practical, which is always a bonus.
The characters are likable as well, especially the badass final girl Zodiac, played awesomely by Julia Wieniawa-Narkiewicz.
The film also touches on some social issues, such as the perception of homosexuality in Poland. It's a shame it's not explored further than a few lines of dialogue.
Nobody Sleeps in the Woods may be down right predictable, but if you can leave any cynicism at the door, then it's a pretty fun slasher to pass the time.
As my first foray into Polish horror, I found it mostly enjoyable. Worth checking out for any horror fans.
Emma @ The Movies (1786 KP) rated Color Out of Space (2019) in Movies
Feb 8, 2020
You had me at Nicolas Cage.
The Gardners are settling into the secluded family home nicely, no city hustle and bustle to bother them. That peaceful life is shattered when a curious meteorite crashes into their garden. Far from a normal bit of space debris, the rock seems to be changing everything around it. It's taking over, the plants, pace and time, even the family themselves.
Briefly hearing Richard Stanley before this screening made me feel this adaptation of Lovecraft's work of the same name was in good hands, he clearly has an appreciation for what he's was working on and the imagery he creates makes for incredible viewing.
So, straight to Nic Cage... he doesn't quite go full Cage, but he's pretty close. It's the usual insanity we've all come to love.
This film is a little crazy on many levels, the family as a whole are very off before we even get to the magical meteorite. Each member seemingly has their own little corner of crazy town mapped out, and yet when you look at them as a whole you'd wouldn't put them in the same family.
As the film progresses and things get even more bizarre the family feel even less connected than at the beginning. The alien influence is pushing them further apart, but on top of that the script falls away in the middle and chaotic devolving of sanity replaces it. Each member of the family has their own experience with the meteorite, apart from chaos and the underlying cause none of it feels connected.
To say it plainly, there's some really messed up stuff. I would love to see how some of it was achieved because if Richardson is doing half the things it appears she is then she deserves some kind of award. I've got the short story to read so I can compare the two because honestly I can't visualise the written version of this story.
The creatures that evolve are made to be terrifying, and they do scare, but the comedy moments that come through from the performances (mostly unintentionally I guess) detract from it being all that shocking.
Our meteorite has a great influence over the sets for most of the movie, the colours and the growth are used to good effect. The progression is clear and well balanced, it might not always look realistic but the fact that that's the point helps.
When you look at Color Out Of Space as a whole it's all over the place, interesting but ambling, understandable and confusing. Despite that, it's an experience that I enjoyed having.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/color-out-of-space-movie-review.html
The Gardners are settling into the secluded family home nicely, no city hustle and bustle to bother them. That peaceful life is shattered when a curious meteorite crashes into their garden. Far from a normal bit of space debris, the rock seems to be changing everything around it. It's taking over, the plants, pace and time, even the family themselves.
Briefly hearing Richard Stanley before this screening made me feel this adaptation of Lovecraft's work of the same name was in good hands, he clearly has an appreciation for what he's was working on and the imagery he creates makes for incredible viewing.
So, straight to Nic Cage... he doesn't quite go full Cage, but he's pretty close. It's the usual insanity we've all come to love.
This film is a little crazy on many levels, the family as a whole are very off before we even get to the magical meteorite. Each member seemingly has their own little corner of crazy town mapped out, and yet when you look at them as a whole you'd wouldn't put them in the same family.
As the film progresses and things get even more bizarre the family feel even less connected than at the beginning. The alien influence is pushing them further apart, but on top of that the script falls away in the middle and chaotic devolving of sanity replaces it. Each member of the family has their own experience with the meteorite, apart from chaos and the underlying cause none of it feels connected.
To say it plainly, there's some really messed up stuff. I would love to see how some of it was achieved because if Richardson is doing half the things it appears she is then she deserves some kind of award. I've got the short story to read so I can compare the two because honestly I can't visualise the written version of this story.
The creatures that evolve are made to be terrifying, and they do scare, but the comedy moments that come through from the performances (mostly unintentionally I guess) detract from it being all that shocking.
Our meteorite has a great influence over the sets for most of the movie, the colours and the growth are used to good effect. The progression is clear and well balanced, it might not always look realistic but the fact that that's the point helps.
When you look at Color Out Of Space as a whole it's all over the place, interesting but ambling, understandable and confusing. Despite that, it's an experience that I enjoyed having.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/color-out-of-space-movie-review.html