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BankofMarquis (1832 KP) rated Stuber (2019) in Movies
Jul 18, 2019
Lack of chemistry between the leads
"Chemistry" is a tricky thing in a film and one that "either you got it or you don't" - it's an elusive element that can sink or raise a film. Case in point 2 films I have seen this week.
I rewatched the 1998 Crime/Romance flick OUT OF SIGHT - starring George Clooney and Jennifer Lopez. I remembered this Steven Soderbergh directed film as "terrific" and was excited to show it to my bride. What I realized when watching it is that this is a middle-of-the-road film that is elevated by the tremendous (sexual) chemistry between Lopez and Clooney. It oozes off the screen and is palatable to the viewer.
On the other end of the scale is the recent Action/Comedy STUBER with comedian Kuamil Nanjiani (THE BIG SICK) and former pro wrestler Dave Bautista (Drax in the GUARDIANS OF THE GALAXY films). This is a middle-of-the-road film that is hurt (tremendously) by the LACK of chemistry between the two leads.
Nanjiani stars as Stu, a sad-sack Uber driver who does not stand up for himself while Bautista is a "nothing gets in my way" take charge cop who (because of recent eye surgery) cannot drive and hires an Uber driver, Stu (who gets called STUBER, hence the name of the film), to chase down clues to a criminal he's been on the hunt for - shenanigans ensue.
Individually, some of the scenes/scenarios of this film are fine/funny and Nanjiani is terrific as Stu and adds some clever comedic elements to a script that is "good enough" by Tripper Clancy.
And then there's Bautista.
He seems lost in this film, underplaying the things that make him good, his over-exuberance and over physicality (if that is a term) of someone of his size. Is this Bautista's fault or did Director Michael Dowse (GOON) purposely tone him down? It doesn't really matter for it doesn't really work.
And this is the beginning of the problem with the chemistry between the two leads - Nanjiani manic energy is not matched by Bautista - he seems to be an "energy sucker" and takes quite a bit of life out of this film. But...Director Dowse is also a problem, for he brings this lack of energy to quite a few of the big action scenes, underplaying, not overplaying what should have been over played.
There are some good things in this - besides the script and Nanjiani, Natalie Morales and Betty Gilpin are good and we do have a "Mira Sorvino sighting", which is welcome...but that's about it. Oh...except for an extended cameo by Karen Gillan (Nebula in the GUARDIANS films) she brings some energy. I would have loved to see her paired with Nanjiani in this.
If you're looking for a good "buddy cop" film with good chemistry between the leads, might I suggest THE OTHER GUYS (Will Ferrell/Mark Wahlberg), RUNNING SCARED (Billy Crystal/Gregory Hines) or the greatest example of strong chemistry - 48 HOURS (Nick Nolte/Eddie Murphy). Stuber would be the example of just the opposite.
6 stars out of 10 (for Nanjiani, Gillan and Sorvino - and a script and circumstances that could have worked had the chemistry between the leads been better)
Letter Grade: B- and you can take that to the Bank(ofMarquis)
I rewatched the 1998 Crime/Romance flick OUT OF SIGHT - starring George Clooney and Jennifer Lopez. I remembered this Steven Soderbergh directed film as "terrific" and was excited to show it to my bride. What I realized when watching it is that this is a middle-of-the-road film that is elevated by the tremendous (sexual) chemistry between Lopez and Clooney. It oozes off the screen and is palatable to the viewer.
On the other end of the scale is the recent Action/Comedy STUBER with comedian Kuamil Nanjiani (THE BIG SICK) and former pro wrestler Dave Bautista (Drax in the GUARDIANS OF THE GALAXY films). This is a middle-of-the-road film that is hurt (tremendously) by the LACK of chemistry between the two leads.
Nanjiani stars as Stu, a sad-sack Uber driver who does not stand up for himself while Bautista is a "nothing gets in my way" take charge cop who (because of recent eye surgery) cannot drive and hires an Uber driver, Stu (who gets called STUBER, hence the name of the film), to chase down clues to a criminal he's been on the hunt for - shenanigans ensue.
Individually, some of the scenes/scenarios of this film are fine/funny and Nanjiani is terrific as Stu and adds some clever comedic elements to a script that is "good enough" by Tripper Clancy.
And then there's Bautista.
He seems lost in this film, underplaying the things that make him good, his over-exuberance and over physicality (if that is a term) of someone of his size. Is this Bautista's fault or did Director Michael Dowse (GOON) purposely tone him down? It doesn't really matter for it doesn't really work.
And this is the beginning of the problem with the chemistry between the two leads - Nanjiani manic energy is not matched by Bautista - he seems to be an "energy sucker" and takes quite a bit of life out of this film. But...Director Dowse is also a problem, for he brings this lack of energy to quite a few of the big action scenes, underplaying, not overplaying what should have been over played.
There are some good things in this - besides the script and Nanjiani, Natalie Morales and Betty Gilpin are good and we do have a "Mira Sorvino sighting", which is welcome...but that's about it. Oh...except for an extended cameo by Karen Gillan (Nebula in the GUARDIANS films) she brings some energy. I would have loved to see her paired with Nanjiani in this.
If you're looking for a good "buddy cop" film with good chemistry between the leads, might I suggest THE OTHER GUYS (Will Ferrell/Mark Wahlberg), RUNNING SCARED (Billy Crystal/Gregory Hines) or the greatest example of strong chemistry - 48 HOURS (Nick Nolte/Eddie Murphy). Stuber would be the example of just the opposite.
6 stars out of 10 (for Nanjiani, Gillan and Sorvino - and a script and circumstances that could have worked had the chemistry between the leads been better)
Letter Grade: B- and you can take that to the Bank(ofMarquis)
Never meet your heroes is the succinct tag line of this Amazon original series, dealing with the notion that all superheroes are morally good… but what if they weren’t…?
Filmed in Canada, and starring New Zealand actors Karl Urban and American Gothic’s Antony Starr, this violent and very adult take on the costumed hero mythology is enough removed from standard American sensibilities to allow it to explore itself boldly and largely uncensored. It is definitely not a show for kids!
From the opening scenes it is evident that The Boys is not afraid to use gallons of blood and gore, nudity and colourful language to emphasise its point of a world corrupt, corporate and cruel, where the falacy of the powerful being there to protect you is shown up as pure money-spinning political and media manipulation.
We follow Jack Quaid’s naive victim Hughie Cambell, as he comes to realise the true nature of the self-centred and entirely flawed “heroes” that make up The Seven – an elite collection of super-powered “freaks”, led by Starr’s superbly vain and ego-maniachal Homelander; yet ultimately controlled by the Vought corporation and its unethical CEO Madelyn Stillwell, played with nervy relish by Elizabeth Shue.
There is Translucent, who can turn his skin invisible, but has to be naked to do so, and uses it largely to lurk in women’s bathrooms… The Deep, who can speak to sea creatures, but manifests a poisonous macho air, driven by massive insecurity… and A-Train, the world’s fastest man, who is a self-serving junkie with big issues.
Into the mix comes, the newest member of The Seven, Erin Moriaty, as Annie January, aka Starlight. Who may or may not have what it takes to join the ranks of well publicised fame, if she can turn a blind eye to the sinister workings of Vought and fit in.
Meanwhile, Hughie, looking for justice and perhaps revenge, meets Will Butcher (Urban), a man with a shady past, a terrible London accent (hilariously brought to attention whenever possible), and a reason to despise and hunt The Seven to extinction. The narrative progresses through this hunt, and the revelation of many secrets, into a cat and mouse game between the powerful “heroes” and the mere mortals determined to stop them.
Arch humour presides; nothing is handled with any sense of realism, favouring spectacle over believability. The tongue is firmly in cheek throughout, and the fun comes from the inventive ways the “Supes” use and misuse their powers, versus the resourcefulness of the essentially powerless methods employed by The Boys to chase them down and bring them to justice.
There are moments when the idea overshadows the actual script, for sure. Other times when the density of characters becomes confusing and unfocused. Without spoilers, it does all go in some very interesting directions, and by the end of episode 8 and the season finale it reaches a point suggesting a tactic many new shows seem to favour. Namely, to leaves things open enough, and on a cliff edge enough, to lead it anywhere it wants to go in a second series.
I have to admit, I wasn’t always comfortable with the tone of it… but, perhaps, that is the point. I did, however, find it very entertaining, fascinatingly post-modern and allegorical. As with many of the “Supes” it could have the ability to fly… but isn’t quite there yet!
Filmed in Canada, and starring New Zealand actors Karl Urban and American Gothic’s Antony Starr, this violent and very adult take on the costumed hero mythology is enough removed from standard American sensibilities to allow it to explore itself boldly and largely uncensored. It is definitely not a show for kids!
From the opening scenes it is evident that The Boys is not afraid to use gallons of blood and gore, nudity and colourful language to emphasise its point of a world corrupt, corporate and cruel, where the falacy of the powerful being there to protect you is shown up as pure money-spinning political and media manipulation.
We follow Jack Quaid’s naive victim Hughie Cambell, as he comes to realise the true nature of the self-centred and entirely flawed “heroes” that make up The Seven – an elite collection of super-powered “freaks”, led by Starr’s superbly vain and ego-maniachal Homelander; yet ultimately controlled by the Vought corporation and its unethical CEO Madelyn Stillwell, played with nervy relish by Elizabeth Shue.
There is Translucent, who can turn his skin invisible, but has to be naked to do so, and uses it largely to lurk in women’s bathrooms… The Deep, who can speak to sea creatures, but manifests a poisonous macho air, driven by massive insecurity… and A-Train, the world’s fastest man, who is a self-serving junkie with big issues.
Into the mix comes, the newest member of The Seven, Erin Moriaty, as Annie January, aka Starlight. Who may or may not have what it takes to join the ranks of well publicised fame, if she can turn a blind eye to the sinister workings of Vought and fit in.
Meanwhile, Hughie, looking for justice and perhaps revenge, meets Will Butcher (Urban), a man with a shady past, a terrible London accent (hilariously brought to attention whenever possible), and a reason to despise and hunt The Seven to extinction. The narrative progresses through this hunt, and the revelation of many secrets, into a cat and mouse game between the powerful “heroes” and the mere mortals determined to stop them.
Arch humour presides; nothing is handled with any sense of realism, favouring spectacle over believability. The tongue is firmly in cheek throughout, and the fun comes from the inventive ways the “Supes” use and misuse their powers, versus the resourcefulness of the essentially powerless methods employed by The Boys to chase them down and bring them to justice.
There are moments when the idea overshadows the actual script, for sure. Other times when the density of characters becomes confusing and unfocused. Without spoilers, it does all go in some very interesting directions, and by the end of episode 8 and the season finale it reaches a point suggesting a tactic many new shows seem to favour. Namely, to leaves things open enough, and on a cliff edge enough, to lead it anywhere it wants to go in a second series.
I have to admit, I wasn’t always comfortable with the tone of it… but, perhaps, that is the point. I did, however, find it very entertaining, fascinatingly post-modern and allegorical. As with many of the “Supes” it could have the ability to fly… but isn’t quite there yet!
JT (287 KP) rated Elysium (2013) in Movies
Mar 10, 2020
Neill Blomkamp came pretty much out of nowhere. Having only directed a handful of shorts he was handed $30m by Peter Jackson and told to make any film he wanted. That offer for any up and coming director would be as good as winning the lottery and he didn’t disappoint, making the dystopian District 9 which went on to become a smash hit.
So when it was announced that his next project would be called Elysium there was much talk, excitement and anticipation about what it would entail. Blomkamp again focuses on a dystopian society, L.A. to be exact (but not an Alien in sight). With Earth quite literally turned into a shit hole it’s ravaged by crime, poverty and disease along with an ever growing population just looking to survive.
The rich and wealthy made their escape from the planet and reside on a beautiful man made space station called Elysium. Here there is no poverty or sickness and one can be cured instantly by stepping into a medical pod. Dropped into all of this is Max (Matt Damon), a former convict who is trying to get by in life but who still holds a fascination that one day he too will get to live on Elysium as we find out through an early back story.
Elysium is an enjoyable ride of thrills and spills and as a sci-fi actioner it ticks all the relevant boxes.
When an accident at work leaves him with only a few days to live he steps back into the criminal underworld in order to get himself a one way ticket onto Elysium and cure himself and in the process become a saviour for the suffering hordes on Earth. Blomkamp sticks with District 9′s Sharlto Copley an actor plucked from obscurity and who has gone on to make a real name for himself. Here he plays sleeper agent Kruger complete with distinguished South African accent and beard.
Pairing up with him from the safe confines of Elysium is Jodie Foster’s Delacourt, the Secretary of Homeland Security whose cool and unassuming personality gives her licence to literally blast people from outer space while drinking tea. She wants her place as the next Elysium president and so enlists the help of the slimy John Carlyle (William Fichtner) who helps to organise a reboot program for the station which falls into the wrong hands.
Blomkamp keeps the story very much as close to reality as possible without overstepping the mark. A world of poverty and hardship with the rich living the high life, sound familiar?
Filmed on location in the slums of Mexico as opposed to South Africa it lends itself to real life and the harsh reality that this isn’t a film set built with a large overblown budget but a place where everyday folk have to live. The action is captivating both on Earth and in space. A car chase and data heist that encounters a flying Bugatti Veyron. While in space, ships explode and crash into the tranquil surroundings of normality (well as normal as you can get in 2154).
The shaven headed Damon gives a good account of himself whether it’s delivering the dramatic line or battling through the action – complete with exoskeleton he is always reliable.
So when it was announced that his next project would be called Elysium there was much talk, excitement and anticipation about what it would entail. Blomkamp again focuses on a dystopian society, L.A. to be exact (but not an Alien in sight). With Earth quite literally turned into a shit hole it’s ravaged by crime, poverty and disease along with an ever growing population just looking to survive.
The rich and wealthy made their escape from the planet and reside on a beautiful man made space station called Elysium. Here there is no poverty or sickness and one can be cured instantly by stepping into a medical pod. Dropped into all of this is Max (Matt Damon), a former convict who is trying to get by in life but who still holds a fascination that one day he too will get to live on Elysium as we find out through an early back story.
Elysium is an enjoyable ride of thrills and spills and as a sci-fi actioner it ticks all the relevant boxes.
When an accident at work leaves him with only a few days to live he steps back into the criminal underworld in order to get himself a one way ticket onto Elysium and cure himself and in the process become a saviour for the suffering hordes on Earth. Blomkamp sticks with District 9′s Sharlto Copley an actor plucked from obscurity and who has gone on to make a real name for himself. Here he plays sleeper agent Kruger complete with distinguished South African accent and beard.
Pairing up with him from the safe confines of Elysium is Jodie Foster’s Delacourt, the Secretary of Homeland Security whose cool and unassuming personality gives her licence to literally blast people from outer space while drinking tea. She wants her place as the next Elysium president and so enlists the help of the slimy John Carlyle (William Fichtner) who helps to organise a reboot program for the station which falls into the wrong hands.
Blomkamp keeps the story very much as close to reality as possible without overstepping the mark. A world of poverty and hardship with the rich living the high life, sound familiar?
Filmed on location in the slums of Mexico as opposed to South Africa it lends itself to real life and the harsh reality that this isn’t a film set built with a large overblown budget but a place where everyday folk have to live. The action is captivating both on Earth and in space. A car chase and data heist that encounters a flying Bugatti Veyron. While in space, ships explode and crash into the tranquil surroundings of normality (well as normal as you can get in 2154).
The shaven headed Damon gives a good account of himself whether it’s delivering the dramatic line or battling through the action – complete with exoskeleton he is always reliable.
KalJ95 (25 KP) rated Resident Evil 3 (Remake) in Video Games
Apr 10, 2020
Nemesis. Oh, Nemesis. (1 more)
An action focused plot works more for Jill's experience in Racoon City.
Unbelievably short campaign. (2 more)
Cut corners for both the narrative and Nemesis.
Feels like downloadable content for RE2.
Nemesis of their own making.
RE3 is an enigma. After last years remake for RE2, I think the bar was set very high for RE3 to be on par, if not even better due to the introduction of the ultimate weapon in Nemesis. And although the action is amped up significantly, the horror is still here in buckets. So, this is another Resident Evil classic, revamped from the ground up, a classic for the current generation, right?
No, not in the slightest.
RE3 feels rushed, as if Capcom listened to fans begging for their next slice of nostalgia, and wanted to capitalise on the success of RE2. While RE2 felt like a continuous flow of Leon/Claire's story, RE3 feels like segments, all separated within cutscenes. This is more evident when you keep flitting between Jill and Carlos, both of whom don't have as much charisma or emotional weight as Claire or Leon. The opening is a blast of adrenaline and bullets, all contained within the beautifully burning remains of Racoon City. There is just enough exploration, puzzles and zombies to keep you satisfied. That is until Nemesis enters the game. As soon as the indestructible behemoth appears for a second time, the cat and mouse chase begins. Reminiscent of Mr X but on steroids, he simply never lets up, constantly on your back, looking to kill Jill whatever it takes. It's utterly relentless, thrilling, heart-pounding. This section was everything I expected RE3 to be.
Then everything collapsed under sections of nothing more than point and shoot. I know, this is RE, but the fear feels drained from the experience. Nemesis himself becomes a background character, simply added to the story just for boss battles. His pursuit of Jill doesn't feel spontaneous, but scripted, exactly the opposite of Mr X. The realisation of how disappointed I felt towards RE3 was when I discovered sections of the game were simply reused from RE2. The creativity that went into RE2 was so meticulous, crafted and positioned for the players experience. When I entered the Police Station with Carlos, a mass onslaught of zombies gathered in one section, only meant for me to rain bullets upon them. And this is the issue with the entire experience. Its nothing more than a five hour storm of sections of shooting monsters.
I do hate this game though. RE3 is fun, and anything remotely like last years experience I will play and enjoy. The story of Jill's residency in Racoon City being turned upside down over the space of a few days is excellent, and the new sections are all well fleshed out and great to explore, especially Racoon City and the Hospital. Its extremely short, and for a full retail price I think its absolutely scandalous, but there's so much replay value here.
If I had to end the review here, I want to end it on a message solely centred at Capcom. Why, in the name of God did you focus your time on the multiplayer mode, Resistance, rather than properly making RE3 a full experience? The past tells you Resident Evil doesn't work well mixed with multiplayer. For as much fun I had within my four hours and thirty two minute playthrough, this game is nothing more than DLC for RE2. And that hurts.
No, not in the slightest.
RE3 feels rushed, as if Capcom listened to fans begging for their next slice of nostalgia, and wanted to capitalise on the success of RE2. While RE2 felt like a continuous flow of Leon/Claire's story, RE3 feels like segments, all separated within cutscenes. This is more evident when you keep flitting between Jill and Carlos, both of whom don't have as much charisma or emotional weight as Claire or Leon. The opening is a blast of adrenaline and bullets, all contained within the beautifully burning remains of Racoon City. There is just enough exploration, puzzles and zombies to keep you satisfied. That is until Nemesis enters the game. As soon as the indestructible behemoth appears for a second time, the cat and mouse chase begins. Reminiscent of Mr X but on steroids, he simply never lets up, constantly on your back, looking to kill Jill whatever it takes. It's utterly relentless, thrilling, heart-pounding. This section was everything I expected RE3 to be.
Then everything collapsed under sections of nothing more than point and shoot. I know, this is RE, but the fear feels drained from the experience. Nemesis himself becomes a background character, simply added to the story just for boss battles. His pursuit of Jill doesn't feel spontaneous, but scripted, exactly the opposite of Mr X. The realisation of how disappointed I felt towards RE3 was when I discovered sections of the game were simply reused from RE2. The creativity that went into RE2 was so meticulous, crafted and positioned for the players experience. When I entered the Police Station with Carlos, a mass onslaught of zombies gathered in one section, only meant for me to rain bullets upon them. And this is the issue with the entire experience. Its nothing more than a five hour storm of sections of shooting monsters.
I do hate this game though. RE3 is fun, and anything remotely like last years experience I will play and enjoy. The story of Jill's residency in Racoon City being turned upside down over the space of a few days is excellent, and the new sections are all well fleshed out and great to explore, especially Racoon City and the Hospital. Its extremely short, and for a full retail price I think its absolutely scandalous, but there's so much replay value here.
If I had to end the review here, I want to end it on a message solely centred at Capcom. Why, in the name of God did you focus your time on the multiplayer mode, Resistance, rather than properly making RE3 a full experience? The past tells you Resident Evil doesn't work well mixed with multiplayer. For as much fun I had within my four hours and thirty two minute playthrough, this game is nothing more than DLC for RE2. And that hurts.
Darren (1599 KP) rated Iceman (2014) in Movies
Aug 6, 2019
Story: Iceman starts when Ho Ying (Yen) gets awoken from a frozen sleep of 400-years in the modern time, he must look to adapt fast to a world different from his own. Ying isn’t the only one to make it to the modern time, his brothers Sao (Wang) and Niehu (Yu) arrive as they look to hunt him down after all these years after he is meant to of betrayed his emperor.
Ying must use the people willing to help him in May (Huang) to locate the Golden Wheel of Time, to prove that he is innocent to stop his brother’s from hunting him down.
Thoughts on Iceman
Characters – Ying was once one of the emperor’s most trusted imperial guards, he is betrayed and framed for treason before getting frozen in time. He gets defrosted in the modern time, where he must go in search for the Golden Wheel of Time to prove his true innocence and protect the world from his own brothers. Sao and San Ko are the two brothers that have also, they are causing more havoc in their hunt for Ying which has drawn more police presence. May is the young lady that takes Ying in, teaches him about the modern day unaware of the true danger that could come their direction. Cheung is running a military chase for Ying, he has learnt the power of the Golden Wheel of Time and believes that he can use it for his own good.
Performances – Donnie Yen is the main attraction to this film, we know he can handle the action which is does with ease, it is when it needs to work on the comedy side of things when his performance goes downhill. Baoqiang Wang and Kang Yu are both entertaining enough in their roles, while Simon Yam brings much needed seriousness to the film. Shengyi Huang is the strongest part of the comedy in the film.
Story – The story follows three brothers and former imperial guards in ancient China, find themselves waking up in the modern time, still at battle for the action that happened in the ancient times. This story is an ambitious idea and it does work for the idea of having the fish out of water situation created for the imperial guards. We do go through the idea of needing to figure out how survive in the new surrounding, which does work too and seeing the twists along the way with the flashbacks does fill in moments of blanks in the storyline. Parts of the storyline can come off confusing though because we do seem to have a lot going on and it does feel like if you blink you might miss something.
Action/Comedy – The action in this film is easily the highlight of it, we get to see Donnie Yen doing his fighting sequences which are always entertaining to watch. The comedy however falls flat resorting to fart jokes, May is the only one that gets proper laughs.
Settings – The film uses the settings to show how the ancient men must adapt to the modern world with the different type of locations they visit.
Special Effects – The effects in the film are good in places, but weak if others, when it comes to the roaring faces they particular look weak.
Scene of the Movie – Bridge fight.
That Moment That Annoyed Me – Fart Jokes.
Final Thoughts – This is an easy watch action sci-fi film, if you want martial arts entertainment this will give you what you need.
Overall: Enjoyable action film.
Ying must use the people willing to help him in May (Huang) to locate the Golden Wheel of Time, to prove that he is innocent to stop his brother’s from hunting him down.
Thoughts on Iceman
Characters – Ying was once one of the emperor’s most trusted imperial guards, he is betrayed and framed for treason before getting frozen in time. He gets defrosted in the modern time, where he must go in search for the Golden Wheel of Time to prove his true innocence and protect the world from his own brothers. Sao and San Ko are the two brothers that have also, they are causing more havoc in their hunt for Ying which has drawn more police presence. May is the young lady that takes Ying in, teaches him about the modern day unaware of the true danger that could come their direction. Cheung is running a military chase for Ying, he has learnt the power of the Golden Wheel of Time and believes that he can use it for his own good.
Performances – Donnie Yen is the main attraction to this film, we know he can handle the action which is does with ease, it is when it needs to work on the comedy side of things when his performance goes downhill. Baoqiang Wang and Kang Yu are both entertaining enough in their roles, while Simon Yam brings much needed seriousness to the film. Shengyi Huang is the strongest part of the comedy in the film.
Story – The story follows three brothers and former imperial guards in ancient China, find themselves waking up in the modern time, still at battle for the action that happened in the ancient times. This story is an ambitious idea and it does work for the idea of having the fish out of water situation created for the imperial guards. We do go through the idea of needing to figure out how survive in the new surrounding, which does work too and seeing the twists along the way with the flashbacks does fill in moments of blanks in the storyline. Parts of the storyline can come off confusing though because we do seem to have a lot going on and it does feel like if you blink you might miss something.
Action/Comedy – The action in this film is easily the highlight of it, we get to see Donnie Yen doing his fighting sequences which are always entertaining to watch. The comedy however falls flat resorting to fart jokes, May is the only one that gets proper laughs.
Settings – The film uses the settings to show how the ancient men must adapt to the modern world with the different type of locations they visit.
Special Effects – The effects in the film are good in places, but weak if others, when it comes to the roaring faces they particular look weak.
Scene of the Movie – Bridge fight.
That Moment That Annoyed Me – Fart Jokes.
Final Thoughts – This is an easy watch action sci-fi film, if you want martial arts entertainment this will give you what you need.
Overall: Enjoyable action film.
Car Driving School: Parking 3D - Car Drive Parking Career and Driving Test Run Game
Games and Entertainment
App
Car Driving School Parking 2016 is the brand new car driving and parking simulation game where you...
BankofMarquis (1832 KP) rated Hamilton (2020) in Movies
Jul 5, 2020
Captures the power of being in "the room where it happens"
I'll just cut to the chase, the filmed version of the mega-hit stage musical HAMILTON (now streaming on Disney+) is terrific. If you are one of the few that have not seen this, check it out - you'll be glad you did.
I could go on and on about the Pulitzer-Prize winning show, the script, the music, the performances and/or the cross-cultural casting - all of which works to perfection, but what separates this film from the other hit Broadway shows that are converted to film is how well that the filmmakers were able to translate the power of being inside the theater during a live performance of this show.
Credit, of course, needs to go to the visionaries responsible for this show, creator/writer/star Lin-Manuel Miranda and Director Thomas Kail. They realized pretty early on (when the show was becoming the phenomenon that it has become) that they wanted to preserve this event for future generations, so started making plans to film the show - in High Def - with an audience and without an audience (for close-ups). In June 2016, about a month before the original cast started leaving the show (and right after the show won 11 Tony Awards), they spent $10 million to capture the show - with live audiences on Sunday and Tuesday and then spent the rest of Sunday night and all day Monday doing close-ups and crane shots to augment the action.
The results are outstanding. The wide-shots show the breadth of the production - showing the strong, Tony Award winning choreography by Andy Blankenbuehler, the unique, minimal and highly versatile set, the Tony Award winning costumes by Paul Tazewell and the Lighting Design that earned Howell Blinkley a Tony. All of these are showcased in this film - special note should be made about the Lighting that needed to be tweaked on the spot for the filming.
As for the close-ups, they showcase the wry smile and comedic delight that Tony winner Daveed Diggs shows in his roles as Lafayette/Jefferson, the power and sorrow of Tony Award winner Renee Elise Goldsberry - her spotlight number SATISFIED is as "perfect" a musical number as you will ever see. The powerful acting of Leslie Odom, Jr. as Aaron Burr (who won the Tony as Best Actor over Lin-Manuel's performance as Hamilton) as well as terrific supporting turns by the likes of Anthony Ramos (Lawrence/Phillip), Chris Jackson (showing real leadership as George Washington) and Okieriete Onaodwoan as Hercules Mulligan (one of my absolute favorite characters in this show)./James Madison.
Special note should be made to Jonathan Groff's portrayal of King George III - it is, basically, a cameo role, but he is filmed with such tight close-ups (showing spittle rolling down has chin as he sings) that marvelously juxtaposes King George's real emotions with that of the words he is speaking.
But, of course, the real star is Lin-Manuel Miranda - the genius creative force behind Hamilton. Interestingly enough, I thought his performance was the weakest of the lead cast (don't get me wrong, he was still excellent - just not "as excellent" as some of the others). His true vision, of course, was to tell the story of "the people of that era" as told by "the people of our era".
That is the true genius of Hamilton.
Letter Grade: A+
10 stars out of 10 (can I turn this up to 11)?
I could go on and on about the Pulitzer-Prize winning show, the script, the music, the performances and/or the cross-cultural casting - all of which works to perfection, but what separates this film from the other hit Broadway shows that are converted to film is how well that the filmmakers were able to translate the power of being inside the theater during a live performance of this show.
Credit, of course, needs to go to the visionaries responsible for this show, creator/writer/star Lin-Manuel Miranda and Director Thomas Kail. They realized pretty early on (when the show was becoming the phenomenon that it has become) that they wanted to preserve this event for future generations, so started making plans to film the show - in High Def - with an audience and without an audience (for close-ups). In June 2016, about a month before the original cast started leaving the show (and right after the show won 11 Tony Awards), they spent $10 million to capture the show - with live audiences on Sunday and Tuesday and then spent the rest of Sunday night and all day Monday doing close-ups and crane shots to augment the action.
The results are outstanding. The wide-shots show the breadth of the production - showing the strong, Tony Award winning choreography by Andy Blankenbuehler, the unique, minimal and highly versatile set, the Tony Award winning costumes by Paul Tazewell and the Lighting Design that earned Howell Blinkley a Tony. All of these are showcased in this film - special note should be made about the Lighting that needed to be tweaked on the spot for the filming.
As for the close-ups, they showcase the wry smile and comedic delight that Tony winner Daveed Diggs shows in his roles as Lafayette/Jefferson, the power and sorrow of Tony Award winner Renee Elise Goldsberry - her spotlight number SATISFIED is as "perfect" a musical number as you will ever see. The powerful acting of Leslie Odom, Jr. as Aaron Burr (who won the Tony as Best Actor over Lin-Manuel's performance as Hamilton) as well as terrific supporting turns by the likes of Anthony Ramos (Lawrence/Phillip), Chris Jackson (showing real leadership as George Washington) and Okieriete Onaodwoan as Hercules Mulligan (one of my absolute favorite characters in this show)./James Madison.
Special note should be made to Jonathan Groff's portrayal of King George III - it is, basically, a cameo role, but he is filmed with such tight close-ups (showing spittle rolling down has chin as he sings) that marvelously juxtaposes King George's real emotions with that of the words he is speaking.
But, of course, the real star is Lin-Manuel Miranda - the genius creative force behind Hamilton. Interestingly enough, I thought his performance was the weakest of the lead cast (don't get me wrong, he was still excellent - just not "as excellent" as some of the others). His true vision, of course, was to tell the story of "the people of that era" as told by "the people of our era".
That is the true genius of Hamilton.
Letter Grade: A+
10 stars out of 10 (can I turn this up to 11)?
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Gareth von Kallenbach (965 KP) rated Wonder Woman 1984 (2020) in Movies
Dec 23, 2020
Gal Gadot returns as Diana Prince in “Wonder Woman 1984” which has seen its release date shift a few times due to the Covid-19 pandemic. The film has started to open overseas and will arrive in the U.S. on Christmas day with a limited debut on HBO Max as well.
The story sees Diana now living in Washington D.C. in 1984. Diana is popular but has refused male companionship as she still longs for her late love Steve Trevor (Chris Pine).
Diana works in the Smithsonian Institute in antiquities and keeps her secret identity under wraps even when a daring mall heist forces her to leap into action.
A shy and passive employee named Barbara (Kirsten Wiig); who is afraid of her own shadow and largely ignored by her peers is befriended by Diana and they discover one item from the heist is inscribed with the ability to grant a wish. Unknowingly Diana wishes for Steve to return and Barbara wishes to be more like Diana which sets a chain of events into motion.
A shady business man named Maxwell Lord (Perdro Pascal) has his site on obtaining the relic as he believes having the ability to grant wishes will allow him to save his failing business and give him the power he craves.
With such a promising setup; the film ultimately does not deliver on its premise and becomes bogged down in drawn out sequences with surprisingly little action and gaps in logic that defy even standards for a comic book film.
The first 90 minutes of the film has roughly 10-15 minutes of action tops and we are instead given lengthy scenes of Steve trying to find an 80s fashion look; flying over fireworks, and Maxwell trashing from one locale to another without much needed continuity.
An action scene involving a convoy chase through the desert seems very inspired by “Raiders of the Lost Ark” and ultimately does not deliver especially with such a long gape between the action sequences.
The final act does attempt to redeem the film as seeing Barbara transform into her new persona is interesting and Wiig does a very solid job with the role. This sadly is undermined with a single line of dialogue which takes away a big part of the transformation that audiences deserved to see.
There was also a sequence where Diana races down the streets and takes to flight with her Lasso and then discovers she can fly like Superman. Not only is this not in keeping with the character; but we see this extended fast moving sequence where she is clearly heading away from D.C. at great speed only to arrive at a destination with an item which had been established to be back at her home in D.C. It is this sort of sloppiness that really detracts from the film. There is also the fact that Steve has to fly her around on a jet that even as a pilot he should not know how to fly as he has never flown a jet aircraft in his life.
When the big confrontation comes it is a letdown as it is not overly epic and the CGI really does not seem to mesh. What is an even bigger disappointment is that a certain character stands emoting for several minutes while Diana gives such a bland and extended speech that even my wife had to ask “who wrote these lines”.
The film was not a total disaster as the characters were interesting and worked well with one another making the film entertaining in parts despite being really disappointed with it.
The film strikes me as a product of the talented Patty Jenkins being able to do whatever she wanted after the success of the first film. Jenkins not only Directed but did the screenplay for it. Considering the amazing job she did writing “Monster” I had high expectations for the film but to me it seemed like it could have used a bit more attention to several aspects.
My summary would be the following… good cast, entertaining in parts, not much action over two hours, takes huge liberties with Diana and her abilities, massive gaps in logic even for a comic movie. It aims to be epic and comes up lacking. At least the mid. credit scene was worth it.
3 stars out of 5
The story sees Diana now living in Washington D.C. in 1984. Diana is popular but has refused male companionship as she still longs for her late love Steve Trevor (Chris Pine).
Diana works in the Smithsonian Institute in antiquities and keeps her secret identity under wraps even when a daring mall heist forces her to leap into action.
A shy and passive employee named Barbara (Kirsten Wiig); who is afraid of her own shadow and largely ignored by her peers is befriended by Diana and they discover one item from the heist is inscribed with the ability to grant a wish. Unknowingly Diana wishes for Steve to return and Barbara wishes to be more like Diana which sets a chain of events into motion.
A shady business man named Maxwell Lord (Perdro Pascal) has his site on obtaining the relic as he believes having the ability to grant wishes will allow him to save his failing business and give him the power he craves.
With such a promising setup; the film ultimately does not deliver on its premise and becomes bogged down in drawn out sequences with surprisingly little action and gaps in logic that defy even standards for a comic book film.
The first 90 minutes of the film has roughly 10-15 minutes of action tops and we are instead given lengthy scenes of Steve trying to find an 80s fashion look; flying over fireworks, and Maxwell trashing from one locale to another without much needed continuity.
An action scene involving a convoy chase through the desert seems very inspired by “Raiders of the Lost Ark” and ultimately does not deliver especially with such a long gape between the action sequences.
The final act does attempt to redeem the film as seeing Barbara transform into her new persona is interesting and Wiig does a very solid job with the role. This sadly is undermined with a single line of dialogue which takes away a big part of the transformation that audiences deserved to see.
There was also a sequence where Diana races down the streets and takes to flight with her Lasso and then discovers she can fly like Superman. Not only is this not in keeping with the character; but we see this extended fast moving sequence where she is clearly heading away from D.C. at great speed only to arrive at a destination with an item which had been established to be back at her home in D.C. It is this sort of sloppiness that really detracts from the film. There is also the fact that Steve has to fly her around on a jet that even as a pilot he should not know how to fly as he has never flown a jet aircraft in his life.
When the big confrontation comes it is a letdown as it is not overly epic and the CGI really does not seem to mesh. What is an even bigger disappointment is that a certain character stands emoting for several minutes while Diana gives such a bland and extended speech that even my wife had to ask “who wrote these lines”.
The film was not a total disaster as the characters were interesting and worked well with one another making the film entertaining in parts despite being really disappointed with it.
The film strikes me as a product of the talented Patty Jenkins being able to do whatever she wanted after the success of the first film. Jenkins not only Directed but did the screenplay for it. Considering the amazing job she did writing “Monster” I had high expectations for the film but to me it seemed like it could have used a bit more attention to several aspects.
My summary would be the following… good cast, entertaining in parts, not much action over two hours, takes huge liberties with Diana and her abilities, massive gaps in logic even for a comic movie. It aims to be epic and comes up lacking. At least the mid. credit scene was worth it.
3 stars out of 5
Bob Mann (459 KP) rated The Upside (2019) in Movies
Sep 28, 2021
Not the 5* French classic, but a fun and moving movie nonetheless.
So, the movie-going audience for this film will divide into two categories:
Category A: those that have seen the original 2011 French classic “The Intouchables” that this is based on, and;
Category B: those that haven’t.
2011 is just before I started “One Mann’s Movies”, but “The Intouchables” would have got 5* from me, no problem.
This movie joins a list of standout European movies – for example, “The Girl with the Dragon Tattoo”; “Let The Right One In”; “Sleepless Night”; etc. – that have had Hollywood “makeovers” that don’t match up to the originals. And this is no exception. However, it’s still been well made and deserves respect as a standalone piece of movie-making.
The Plot
Based on a true story, Phillip Lacasse (Bryan Cranston) is left both paraplegic and widowed by a string of bad luck. Not that money can buy you everything, but his care arrangements are substantially helped by him being a multi-millionaire (“Not rich enough to buy The Yankees; Rich enough to buy The Mets”). This is from success in investments and writing about such investments.
Depressed, cranky and with a “DNR” that his diligent PA Yvonne (Nicole Kidman) seems unable to comply with, Phillip lashes out at anyone and everyone and so dispatches his carers with monotonous regularity. Dell Scott (Kevin Hart) is on parole, with the requirement to seek work. Due to a mix-up, he finds himself in the employ of Phillip: with the suspicion that he’s been hired because he is the very worst candidate imaginable, and thus the most likely to let Phillip shuffle off this mortal coil. But the two men’s antipathy to each other slowly thaws as they teach each other new tricks.
Pin left in the grenade
Those who have seen “The Intouchables” will fondly remember the first 5 minutes of that film: a flash-forward to a manic police car-chase featuring our protagonists (there played by François Cluzet and Omar Sy). It drops like a comedy hand-grenade to open the film. Unfortunately, you can’t help but feel a bit let down by the same re-creation in “The Upside”. It has all the same content but none of the heart.
After that rocky start, the film continues to rather stutter along. Part of the reason for this I think is Kevin Hart. It’s not that he’s particularly bad in the role: it’s just that he IS Kevin Hart, and I was constantly thinking “there’s that comedian playing that role”.
However, once the story gets into its swing, giving Cranston more of a chance to shine (which he does), then the film started to motor and my reservations about Hart started to wane. Some of these story set pieces – such as the one about the art work – are punch-the-air funny in their own right. Cranston’s timing in delivering his punchlines is immaculate.
This IS what actors do
There seems to have been some furore about the casting of Bryan Cranston as the role of the disabled millionaire instead of a disabled actor. Lord save us! He’s an actor! That’s what actors do for a living: pretend to be people they’re not! It’s also worth pointing out that François Cluzet was an able-bodied actor as well.
As already mentioned, Bryan Cranston excels in the role. Phillip goes through such a wide range of emotions from despair to pure joy and back again that you can’t help but be impressed by the performance.
On the female side of the cast, it’s really nice to see Nicole Kidman in such a quiet and understated role and it’s nicely done; Aja Naomi King does a nice job as Dell’s protective ex-girlfriend Latrice; and there’s a nice female cameo as well, which I won’t spoil since I wasn’t expecting to see her in the film.
Final Thoughts
As a standalone film it has some laugh-out-loud moments, some feelgood highs and some moments of real pathos. The audience I saw this with was small, but there was still a buzz in the room and sporadic applause as the end titles came up: God only knows that’s unusual for a film!
The director is “Limitless” and “Divergent” director Neil Burger, and it’s a perfectly fun and innocent night out at the flicks that I commend to the house in this month of celluloid awards heavyweights.
Category A: those that have seen the original 2011 French classic “The Intouchables” that this is based on, and;
Category B: those that haven’t.
2011 is just before I started “One Mann’s Movies”, but “The Intouchables” would have got 5* from me, no problem.
This movie joins a list of standout European movies – for example, “The Girl with the Dragon Tattoo”; “Let The Right One In”; “Sleepless Night”; etc. – that have had Hollywood “makeovers” that don’t match up to the originals. And this is no exception. However, it’s still been well made and deserves respect as a standalone piece of movie-making.
The Plot
Based on a true story, Phillip Lacasse (Bryan Cranston) is left both paraplegic and widowed by a string of bad luck. Not that money can buy you everything, but his care arrangements are substantially helped by him being a multi-millionaire (“Not rich enough to buy The Yankees; Rich enough to buy The Mets”). This is from success in investments and writing about such investments.
Depressed, cranky and with a “DNR” that his diligent PA Yvonne (Nicole Kidman) seems unable to comply with, Phillip lashes out at anyone and everyone and so dispatches his carers with monotonous regularity. Dell Scott (Kevin Hart) is on parole, with the requirement to seek work. Due to a mix-up, he finds himself in the employ of Phillip: with the suspicion that he’s been hired because he is the very worst candidate imaginable, and thus the most likely to let Phillip shuffle off this mortal coil. But the two men’s antipathy to each other slowly thaws as they teach each other new tricks.
Pin left in the grenade
Those who have seen “The Intouchables” will fondly remember the first 5 minutes of that film: a flash-forward to a manic police car-chase featuring our protagonists (there played by François Cluzet and Omar Sy). It drops like a comedy hand-grenade to open the film. Unfortunately, you can’t help but feel a bit let down by the same re-creation in “The Upside”. It has all the same content but none of the heart.
After that rocky start, the film continues to rather stutter along. Part of the reason for this I think is Kevin Hart. It’s not that he’s particularly bad in the role: it’s just that he IS Kevin Hart, and I was constantly thinking “there’s that comedian playing that role”.
However, once the story gets into its swing, giving Cranston more of a chance to shine (which he does), then the film started to motor and my reservations about Hart started to wane. Some of these story set pieces – such as the one about the art work – are punch-the-air funny in their own right. Cranston’s timing in delivering his punchlines is immaculate.
This IS what actors do
There seems to have been some furore about the casting of Bryan Cranston as the role of the disabled millionaire instead of a disabled actor. Lord save us! He’s an actor! That’s what actors do for a living: pretend to be people they’re not! It’s also worth pointing out that François Cluzet was an able-bodied actor as well.
As already mentioned, Bryan Cranston excels in the role. Phillip goes through such a wide range of emotions from despair to pure joy and back again that you can’t help but be impressed by the performance.
On the female side of the cast, it’s really nice to see Nicole Kidman in such a quiet and understated role and it’s nicely done; Aja Naomi King does a nice job as Dell’s protective ex-girlfriend Latrice; and there’s a nice female cameo as well, which I won’t spoil since I wasn’t expecting to see her in the film.
Final Thoughts
As a standalone film it has some laugh-out-loud moments, some feelgood highs and some moments of real pathos. The audience I saw this with was small, but there was still a buzz in the room and sporadic applause as the end titles came up: God only knows that’s unusual for a film!
The director is “Limitless” and “Divergent” director Neil Burger, and it’s a perfectly fun and innocent night out at the flicks that I commend to the house in this month of celluloid awards heavyweights.