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Bob Mann (459 KP) rated Baby Driver (2017) in Movies
Sep 29, 2021
A summer film so cool that air-con is optional.
Sorry for the lack of posts folks…. with a holiday in sunny Portugal, I’ve not been to the pics for weeks!
There’s something inherently appealing about the concept of a getaway driver. A skillful ‘bad-boy’, but not normally bad enough to actually DO the nasty crime stuff…. merely be an active accomplice to it. As a result, it’s a subject that the movies have returned to time after time. I’m old and crusty enough to remember being wowed at seeing Ryan O’Neal in Walter Hill’s “Driver” on the big screen in 1978. And well before that, as a kid, my poor departed mother used to be driven crazy by me begging her to take me to see “The Italian Job” (the original 1969 version) YET again… probably the greatest getaway chase in movie history: I must have seen that film at least 20 times in the cinema. Of course more recently we’ve also had Ryan Gosling and Carey Mulligan in “Drive” on the same theme. Any I’ve forgotten?
But with Edgar Wright at the helm, a big name cast and an enticing trailer, I had high expectations for “Baby Driver” – and boy was I happy! This is such a seriously cool film on so many levels.
Opening with a bank heist followed by a kick-ass car chase, we follow ‘Baby’ (Ansel Elgort, “Allegiant”, “The Fault in our Stars”) as a tinnitus-suffering, music-infused getaway driver under the thumb of the criminal overlord Doc (Kevin Spacey, in icy Frank Underwood mode). Doc recruits an ever-changing mix-tape of villains for each job, including the psychopathic and appropriately named ‘Bats’ (Jamie Foxx, “Sleepless”), the chillingly dangerous Buddy (Jon Hamm, “Mad Men”, “Keeping Up With The Joneses”) and his “Bonnie-style” wife ‘Darling’ (Eiza González) and the moderately incompetent JD (Lanny Joon) (who changed his neck tattoo of “HATE” to “HAT” since it improved his job prospects… LOL…. “everybody loves a hat”!).
Baby’s life gets more complicated when the hoods become aware of his fledgling relationship with fellow-orphan Debora (Lily James) a waitress in a diner and another lever to keep Baby locked into the job that he is just so, so good at.
On the surface this might be perceived as being just another good excuse for a lot of CGI-driven car stunts in the style of “The Fate of the Furious”. But no. Firstly, as Edgar Wright declared before the special screening I saw, all of the car stunts were actually performed for real on the mean streets of Atlanta (and hats off to the film’s stunt coordinator Robert Nagle and his team for these). And secondly, the car scenes are almost secondary to the fabulous story and character development in the film. The script (also by Edgar Wright) is just brilliant. There are genuinely laugh-out loud moments in the movie, with one of the highlights for me being JD tasked with procuring Michael Myers “Halloween” masks for a heist. If you don’t find this scene hilarious, you are not human – official.
The only misstep for me in the script was an unbelievable event (both in terms of likelihood and – particularly – timing) during a closing car park fight***.
Elgort is really strong in the lead role, and suggested to me that if the role of the young Han Solo in the upcoming Star Wars spin-off hadn’t already gone to Alden Ehrenreich, then here was a very strong contender. All of the supporting roles are strong (as you would expect from such a stellar cast) with Jon Hamm being a standout, appearing truly demonic in the closing scenes. The one role I was less sure about in the film was that of Lily James, whose performance as the ‘sweet as apple pie’ waitress seemed a little too “animated” for the big screen in the early scenes – I remember an acting class by Michael Caine where he advised that given the size of movie screens it’s often the case that “stillness is good”. What works well on the small screen (I am a big fan of her roles in historical TV dramas like “Downton Abbey” and the impeccable “War and Peace”) perhaps sometimes needs modifying for the wide-screen experience. I greatly warmed to her portrayal in the action sequences later on though: she’s a great actress and one that this film can hopefully now propel into the higher echelons in Hollywood.
Another star of the film is the fabulous soundtrack coordinated by Oscar-winner Steven Price (“Gravity“) featuring (amongst many other classics) Queen’s “Brighton Rock”, Golden Earring’s “Radar Love”, the Simon and Garfunkel classic (obviously) and Bob & Earl’s “Harlem Shuffle”, all used to brilliant effect. This latter track leads me on to some early Oscar predictions: if this film doesn’t get nominated this year for Oscars for Best Editing (Jonathan Amos and Paul Machliss, “Scott Pilgrim vs the World”) and Best Sound Editing (Julian Slater), then there is no God! The “Harlem Shuffle” coffee run sequence is a masterclass in editing and direction. Starting off with what I thought might turn into a tribute to “Saturday Night Fever”, the scene neatly takes on a style all of its own. It’s use of – erm – “subtitles” is just brilliant.
The often subtle, and occasionally not so subtle, edits between scenes are also truly masterful, making this moviegoer laugh-out-loud with delight periodically at the movie-making skill on display.
All of this is orchestrated by Edgar Wright as director who – for me – has been a little inconsistent over the years (loved, loved, loved “Shaun of the Dead” and “Hot Fuzz”; “The World’s End” – not so much). Here, he delivers in spades and this film rockets immediately into my Films of the Year list for 2017. Awe inspiring.
Beg, steal, borrow, rob a bank – – do what you have to, but make sure you catch this film on the big screen.
There’s something inherently appealing about the concept of a getaway driver. A skillful ‘bad-boy’, but not normally bad enough to actually DO the nasty crime stuff…. merely be an active accomplice to it. As a result, it’s a subject that the movies have returned to time after time. I’m old and crusty enough to remember being wowed at seeing Ryan O’Neal in Walter Hill’s “Driver” on the big screen in 1978. And well before that, as a kid, my poor departed mother used to be driven crazy by me begging her to take me to see “The Italian Job” (the original 1969 version) YET again… probably the greatest getaway chase in movie history: I must have seen that film at least 20 times in the cinema. Of course more recently we’ve also had Ryan Gosling and Carey Mulligan in “Drive” on the same theme. Any I’ve forgotten?
But with Edgar Wright at the helm, a big name cast and an enticing trailer, I had high expectations for “Baby Driver” – and boy was I happy! This is such a seriously cool film on so many levels.
Opening with a bank heist followed by a kick-ass car chase, we follow ‘Baby’ (Ansel Elgort, “Allegiant”, “The Fault in our Stars”) as a tinnitus-suffering, music-infused getaway driver under the thumb of the criminal overlord Doc (Kevin Spacey, in icy Frank Underwood mode). Doc recruits an ever-changing mix-tape of villains for each job, including the psychopathic and appropriately named ‘Bats’ (Jamie Foxx, “Sleepless”), the chillingly dangerous Buddy (Jon Hamm, “Mad Men”, “Keeping Up With The Joneses”) and his “Bonnie-style” wife ‘Darling’ (Eiza González) and the moderately incompetent JD (Lanny Joon) (who changed his neck tattoo of “HATE” to “HAT” since it improved his job prospects… LOL…. “everybody loves a hat”!).
Baby’s life gets more complicated when the hoods become aware of his fledgling relationship with fellow-orphan Debora (Lily James) a waitress in a diner and another lever to keep Baby locked into the job that he is just so, so good at.
On the surface this might be perceived as being just another good excuse for a lot of CGI-driven car stunts in the style of “The Fate of the Furious”. But no. Firstly, as Edgar Wright declared before the special screening I saw, all of the car stunts were actually performed for real on the mean streets of Atlanta (and hats off to the film’s stunt coordinator Robert Nagle and his team for these). And secondly, the car scenes are almost secondary to the fabulous story and character development in the film. The script (also by Edgar Wright) is just brilliant. There are genuinely laugh-out loud moments in the movie, with one of the highlights for me being JD tasked with procuring Michael Myers “Halloween” masks for a heist. If you don’t find this scene hilarious, you are not human – official.
The only misstep for me in the script was an unbelievable event (both in terms of likelihood and – particularly – timing) during a closing car park fight***.
Elgort is really strong in the lead role, and suggested to me that if the role of the young Han Solo in the upcoming Star Wars spin-off hadn’t already gone to Alden Ehrenreich, then here was a very strong contender. All of the supporting roles are strong (as you would expect from such a stellar cast) with Jon Hamm being a standout, appearing truly demonic in the closing scenes. The one role I was less sure about in the film was that of Lily James, whose performance as the ‘sweet as apple pie’ waitress seemed a little too “animated” for the big screen in the early scenes – I remember an acting class by Michael Caine where he advised that given the size of movie screens it’s often the case that “stillness is good”. What works well on the small screen (I am a big fan of her roles in historical TV dramas like “Downton Abbey” and the impeccable “War and Peace”) perhaps sometimes needs modifying for the wide-screen experience. I greatly warmed to her portrayal in the action sequences later on though: she’s a great actress and one that this film can hopefully now propel into the higher echelons in Hollywood.
Another star of the film is the fabulous soundtrack coordinated by Oscar-winner Steven Price (“Gravity“) featuring (amongst many other classics) Queen’s “Brighton Rock”, Golden Earring’s “Radar Love”, the Simon and Garfunkel classic (obviously) and Bob & Earl’s “Harlem Shuffle”, all used to brilliant effect. This latter track leads me on to some early Oscar predictions: if this film doesn’t get nominated this year for Oscars for Best Editing (Jonathan Amos and Paul Machliss, “Scott Pilgrim vs the World”) and Best Sound Editing (Julian Slater), then there is no God! The “Harlem Shuffle” coffee run sequence is a masterclass in editing and direction. Starting off with what I thought might turn into a tribute to “Saturday Night Fever”, the scene neatly takes on a style all of its own. It’s use of – erm – “subtitles” is just brilliant.
The often subtle, and occasionally not so subtle, edits between scenes are also truly masterful, making this moviegoer laugh-out-loud with delight periodically at the movie-making skill on display.
All of this is orchestrated by Edgar Wright as director who – for me – has been a little inconsistent over the years (loved, loved, loved “Shaun of the Dead” and “Hot Fuzz”; “The World’s End” – not so much). Here, he delivers in spades and this film rockets immediately into my Films of the Year list for 2017. Awe inspiring.
Beg, steal, borrow, rob a bank – – do what you have to, but make sure you catch this film on the big screen.
James P. Sumner (65 KP) rated Rambo: Last Blood (2019) in Movies
Sep 19, 2019
Hopefully this truly is Last Blood.
In Sylvester Stallone's fifth and (hopefully) final outing as one-man army John Rambo, we find the eponymous hero enjoying the quiet life on the Texas ranch he returned to at the end of "Rambo (2008)".
The character is still as reflective and composed as ever, with hints and flashbacks to his ongoing struggle with PTSD following his experiences in Vietnam. He trains horses on the ranch and acts as surrogate father to his college-bound niece, played by the relatively-unknown and absolutely stunning Yvette Monreal. He also has an unfathomably complex network of tunnels dug beneath his property, which could never have been done by one man, even in the 11 years that have past since the last movie.
The first ten minutes set the scene and familiarizes the audience with characters old and new. Having watched all four previous films in preparation for this one, it's quite sad to see how much the essence of Rambo as a person has changed. The first three all followed the same theme - a reluctant warrior with a muted self-loathing of the terrible abilities he has been blessed with, begrudgingly fighting someone else's war because he can't stop himself from doing what he thinks is right. The fourth one took the series in a different yet understandable direction - he's getting older, he's retired from the world, and he's minding his own business when trouble happens to find him. Then, the old Rambo we saw in "Rambo: First Blood - Part II (1985)" comes out and lays waste to everyone. But in this latest film, you barely recognize the character compared to the previous entries. He doesn't look or feel like the Rambo we've known over the years, which means this film struggles to look and feel like a Rambo film.
The next five minutes establishes the upcoming plot of the movie (such as it is), which is transparent and predictable. It then morphs into "Taken (2008)" on steroids! It takes a nice diversion at first, showing Rambo take on an entire Mexican people-trafficking ring, only to get the living hell beaten out of him. What you might think would happen in real life, but you kind of expected Rambo to go all "Rambo" on them, so when he doesn't, it's almost a pleasant surprise.
However, normal business soon resumes. Another tussle with some of the Mexican bad guys sets up the final act, which is Rambo vs. Every Mexican Criminal Ever - clips of which you will have seen in the trailer.
This is where the film lets itself down, if I'm honest. You would expect the finale to be the big payoff, but it actually ruins what would otherwise have been a half-decent film. It would be silly of me to criticize a Rambo film for being unrealistic. That being said, there's pushing the boundaries of belief, and then there's just lazy writing!
The final act begins. Five trucks of bad guys show up. Around 20-25 armed men are shown approaching Rambo's location. It's no spoiler to say he probably kills about 50 in total. Not sure where all the disposable enemies came from, but he didn't seem to mind.
Then there's the five-minute montage of him booby-trapping his ranch prior to the bad guys showing up. Something he did without any actual evidence they would come for him - just an assumption that somewhere there's a group of people who probably want to try and kill him, so best to be prepared. The whole scene feels like what would happen if "Deadpool (2016)" and "Home Alone (1990)" had a baby. Don't get me wrong, it was mindless, cringe-inducing, blood-soaked fun, but a lot of it felt unnecessarily complicated.
And then there's the violence itself. I love an action movie that drowns in crimson as much as the next person, but a lot of the violence felt like it was there for the sake of it. Like the producers said, 'We've got the 18-certificate, so let's make use of it.' I'm sure there's a deep-rooted psychological argument to be made for it. Like it's intentionally over the top to serve as a metaphor for the horrors Rambo suffered in Vietnam or something. Personally, I don't think this film is capable of being that deep and meaningful.
I really, really wanted this film to be good. I enjoyed the others and I wanted to enjoy this one. And I did, to an extent, I guess. But the whole film felt pointless. I understand the thinking that the series needed a proper and fitting end to the character's arc. But, if I'm being honest, you could've said the last film did that. It actually provides a better ending to the character than this one. The way he returned from Burma and is last seen approaching the family ranch after 30+ years away... you could've ended it there and left it to the audience's imaginations as to how he lived out the rest of his life. But money talks, and unfortunately, it ruined an otherwise successful and enjoyable franchise that had simply ran its course. A prime example of not knowing when to quit, this sentiment is echoed by Stallone's aging appearance, which takes away what credibility this character had left.
A real shame, but sadly, this isn't a film that's worth watching, unless you're a true die-hard fan of the character, in which case you'll want to watch it just because, but you'll be left disappointed.
The character is still as reflective and composed as ever, with hints and flashbacks to his ongoing struggle with PTSD following his experiences in Vietnam. He trains horses on the ranch and acts as surrogate father to his college-bound niece, played by the relatively-unknown and absolutely stunning Yvette Monreal. He also has an unfathomably complex network of tunnels dug beneath his property, which could never have been done by one man, even in the 11 years that have past since the last movie.
The first ten minutes set the scene and familiarizes the audience with characters old and new. Having watched all four previous films in preparation for this one, it's quite sad to see how much the essence of Rambo as a person has changed. The first three all followed the same theme - a reluctant warrior with a muted self-loathing of the terrible abilities he has been blessed with, begrudgingly fighting someone else's war because he can't stop himself from doing what he thinks is right. The fourth one took the series in a different yet understandable direction - he's getting older, he's retired from the world, and he's minding his own business when trouble happens to find him. Then, the old Rambo we saw in "Rambo: First Blood - Part II (1985)" comes out and lays waste to everyone. But in this latest film, you barely recognize the character compared to the previous entries. He doesn't look or feel like the Rambo we've known over the years, which means this film struggles to look and feel like a Rambo film.
The next five minutes establishes the upcoming plot of the movie (such as it is), which is transparent and predictable. It then morphs into "Taken (2008)" on steroids! It takes a nice diversion at first, showing Rambo take on an entire Mexican people-trafficking ring, only to get the living hell beaten out of him. What you might think would happen in real life, but you kind of expected Rambo to go all "Rambo" on them, so when he doesn't, it's almost a pleasant surprise.
However, normal business soon resumes. Another tussle with some of the Mexican bad guys sets up the final act, which is Rambo vs. Every Mexican Criminal Ever - clips of which you will have seen in the trailer.
This is where the film lets itself down, if I'm honest. You would expect the finale to be the big payoff, but it actually ruins what would otherwise have been a half-decent film. It would be silly of me to criticize a Rambo film for being unrealistic. That being said, there's pushing the boundaries of belief, and then there's just lazy writing!
The final act begins. Five trucks of bad guys show up. Around 20-25 armed men are shown approaching Rambo's location. It's no spoiler to say he probably kills about 50 in total. Not sure where all the disposable enemies came from, but he didn't seem to mind.
Then there's the five-minute montage of him booby-trapping his ranch prior to the bad guys showing up. Something he did without any actual evidence they would come for him - just an assumption that somewhere there's a group of people who probably want to try and kill him, so best to be prepared. The whole scene feels like what would happen if "Deadpool (2016)" and "Home Alone (1990)" had a baby. Don't get me wrong, it was mindless, cringe-inducing, blood-soaked fun, but a lot of it felt unnecessarily complicated.
And then there's the violence itself. I love an action movie that drowns in crimson as much as the next person, but a lot of the violence felt like it was there for the sake of it. Like the producers said, 'We've got the 18-certificate, so let's make use of it.' I'm sure there's a deep-rooted psychological argument to be made for it. Like it's intentionally over the top to serve as a metaphor for the horrors Rambo suffered in Vietnam or something. Personally, I don't think this film is capable of being that deep and meaningful.
I really, really wanted this film to be good. I enjoyed the others and I wanted to enjoy this one. And I did, to an extent, I guess. But the whole film felt pointless. I understand the thinking that the series needed a proper and fitting end to the character's arc. But, if I'm being honest, you could've said the last film did that. It actually provides a better ending to the character than this one. The way he returned from Burma and is last seen approaching the family ranch after 30+ years away... you could've ended it there and left it to the audience's imaginations as to how he lived out the rest of his life. But money talks, and unfortunately, it ruined an otherwise successful and enjoyable franchise that had simply ran its course. A prime example of not knowing when to quit, this sentiment is echoed by Stallone's aging appearance, which takes away what credibility this character had left.
A real shame, but sadly, this isn't a film that's worth watching, unless you're a true die-hard fan of the character, in which case you'll want to watch it just because, but you'll be left disappointed.
FilmIntuition (33 KP) rated The High Season in Books
May 23, 2018
A Terrific Beach Read
(Note: I received an Advance Readers Copy of this book in exchange for an honest review.)
You can practically feel the sunlight pouring off the pages of The High Season, which, thanks to National Book Award Winner Judy Blundell's lyrical and painterly prose, is as picturesque as the summery Long Island beach house where the novel's action is set.
Told from the points-of-view of multiple characters, the instantly compelling book introduces us to the local residents and seasonal visitors of a beautiful beach community that's big enough to enjoy but small enough that secrets don't stay that way for long as its inhabitants soon find out.
Although it's made fiscal sense, renting their gorgeous home every summer in order to afford to live in it during the rest of the year has begun to wear on our main protagonist, museum director Ruthie Dutton and her fifteen-year-old daughter Jem.
Renovating a perfect beach house only to need to leave it during its peak season has been a leading cause of the breakdown of her marriage to Mike, with whom she's still on excellent terms, and even though the mature Jem puts up a good front, Ruthie hates the idea of uprooting her each summer.
And when her latest renter makes herself home a little too quickly – setting her sights on Mike, her friends, and possibly a permanent place in North Fork – Ruthie finds herself at war, especially after the renter's college aged stepson takes an interest in Jem, and nonprofit art world politics threaten her livelihood.
Breaking down the action on several fronts, we're also introduced to Ruthie's enigmatic young coworker Doe who's perfected the art of blending in anywhere and with anyone and it's in Doe's chapters that Blundell and the reader has the most fun as she gently satirizes the rich.
The first book the author has penned exclusively for adults, admittedly there are times when The High Season's older characters (especially Ruthie) act more immature than their younger counterparts do in incongruous scenes that hinders their relatability.
A gifted stylist, however, Blundell doesn't lose us for long. As high stakes subplots begin to collide, the book rebounds from a slightly muddled middle act – delivering a final hundred pages you'll fly right through just as fast as this entertaining read flies off shelves this summer.
You can practically feel the sunlight pouring off the pages of The High Season, which, thanks to National Book Award Winner Judy Blundell's lyrical and painterly prose, is as picturesque as the summery Long Island beach house where the novel's action is set.
Told from the points-of-view of multiple characters, the instantly compelling book introduces us to the local residents and seasonal visitors of a beautiful beach community that's big enough to enjoy but small enough that secrets don't stay that way for long as its inhabitants soon find out.
Although it's made fiscal sense, renting their gorgeous home every summer in order to afford to live in it during the rest of the year has begun to wear on our main protagonist, museum director Ruthie Dutton and her fifteen-year-old daughter Jem.
Renovating a perfect beach house only to need to leave it during its peak season has been a leading cause of the breakdown of her marriage to Mike, with whom she's still on excellent terms, and even though the mature Jem puts up a good front, Ruthie hates the idea of uprooting her each summer.
And when her latest renter makes herself home a little too quickly – setting her sights on Mike, her friends, and possibly a permanent place in North Fork – Ruthie finds herself at war, especially after the renter's college aged stepson takes an interest in Jem, and nonprofit art world politics threaten her livelihood.
Breaking down the action on several fronts, we're also introduced to Ruthie's enigmatic young coworker Doe who's perfected the art of blending in anywhere and with anyone and it's in Doe's chapters that Blundell and the reader has the most fun as she gently satirizes the rich.
The first book the author has penned exclusively for adults, admittedly there are times when The High Season's older characters (especially Ruthie) act more immature than their younger counterparts do in incongruous scenes that hinders their relatability.
A gifted stylist, however, Blundell doesn't lose us for long. As high stakes subplots begin to collide, the book rebounds from a slightly muddled middle act – delivering a final hundred pages you'll fly right through just as fast as this entertaining read flies off shelves this summer.
Gareth von Kallenbach (980 KP) rated The Hitman's Bodyguard (2017) in Movies
Jun 19, 2019
For professional Bodyguard Michael Bryce (Ryan Reynolds), life is good. As an elite member of his craft, he is well paid and lives a very good life keeping high-profile targets safe the world over. When things unexpectedly take a turn we find Michael two years on having hit the skids and struggling to claw his way back to prominence in the new film “The Hitman’s Bodyguard”.
Things become complicated for Michael as a despotic tyrant named Dukhovich (Gary Oldman) is on trial for war crimes and countless atrocities, and is about to go free due to removing all those who would be able to testify against him with credible evidence. That is with the exception of one Darius Kincaid (Samuel L. Jackson). Darius is incarcerated but makes a deal to testify in exchange for his wife (Selma Hayek), being granted freedom. Darius knows he is a marked man but takes the chance and under the watch of Interpol Agent Roussel (Elodie Yung), they set off.
Naturally things do not go as planned and the two find themselves fleeing for their lives with numerous deadly assassins hot on their heels. Unsure who she can trust, Roussel calls in Michael even though they have some seriously unresolved issues about one another that destroyed their previous relationship. Further complicating matters is the history Michael and Darius share which makes them naturally hostile to one another.
Nevertheless, Michael and Darius set off to reach the courtroom but the imposed deadline and face numerous dangers and hilarious situations along the way.
Jackson and Reynolds work very well with one another and their banter and chiding comes across as very natural. The jokes come more often than I expected but the film is very much an action film, and the sequences are intense, funny, and gripping, especially and extended chase and fight sequence along the canals and shopping district of Amsterdam.
While some may say that the film is just a variation on the Buddy Cop genre of old, the strong cast and the winning mix of jokes and action make the film a very pleasant surprise and one of my more enjoyable films of 2017. It was a highly-enjoyable thrill ride and one of the best films this summer.
If you are a fan of action, comedies, and the pairing of Jackson and Reynolds, do not miss this film.
http://sknr.net/2017/08/17/the-hitmans-bodyguard/
Things become complicated for Michael as a despotic tyrant named Dukhovich (Gary Oldman) is on trial for war crimes and countless atrocities, and is about to go free due to removing all those who would be able to testify against him with credible evidence. That is with the exception of one Darius Kincaid (Samuel L. Jackson). Darius is incarcerated but makes a deal to testify in exchange for his wife (Selma Hayek), being granted freedom. Darius knows he is a marked man but takes the chance and under the watch of Interpol Agent Roussel (Elodie Yung), they set off.
Naturally things do not go as planned and the two find themselves fleeing for their lives with numerous deadly assassins hot on their heels. Unsure who she can trust, Roussel calls in Michael even though they have some seriously unresolved issues about one another that destroyed their previous relationship. Further complicating matters is the history Michael and Darius share which makes them naturally hostile to one another.
Nevertheless, Michael and Darius set off to reach the courtroom but the imposed deadline and face numerous dangers and hilarious situations along the way.
Jackson and Reynolds work very well with one another and their banter and chiding comes across as very natural. The jokes come more often than I expected but the film is very much an action film, and the sequences are intense, funny, and gripping, especially and extended chase and fight sequence along the canals and shopping district of Amsterdam.
While some may say that the film is just a variation on the Buddy Cop genre of old, the strong cast and the winning mix of jokes and action make the film a very pleasant surprise and one of my more enjoyable films of 2017. It was a highly-enjoyable thrill ride and one of the best films this summer.
If you are a fan of action, comedies, and the pairing of Jackson and Reynolds, do not miss this film.
http://sknr.net/2017/08/17/the-hitmans-bodyguard/
Bob Mann (459 KP) rated Their Finest (2017) in Movies
Sep 29, 2021
Keep Calm and Carry on Writing.
In a well-mined category, “Their Finest” is a World War 2 comedy/drama telling a tale I haven’t seen told before: the story behind the British Ministry of Information and their drive to produce propaganda films that support morale and promote positive messages in a time of national crisis. For it is 1940 and London is under nightly attack by the Luftwaffe during the time known as “The Blitz”. Unfortunately the Ministry is run by a bunch of toffs, and their output is laughably misaligned with the working class population, and especially the female population: with their husbands fighting overseas, these two groups are fast becoming one and the same. For women are finding and enjoying new empowerment and freedom in being socially unshackled from the kitchen sink.
The brave crew of the Nancy Starling. Bill Nighy as Uncle Frank, with twins Lily and Francesca Knight as the Starling sisters.
Enter Catrin Cole (Gemma Arterton, “The Girl with all the Gifts“) who is one such woman arriving to a dangerous London from South Wales to live with struggling disabled artist Ellis (Jack Huston, grandson of John Huston). Catrin, stretching the truth a little, brings a stirring ‘true’ tale of derring-do about the Dunkirk evacuation to the Ministry’s attention. She is then employed to “write the slop” (the woman’s dialogue) in the writing team headed by spiky Tom Buckley (Sam Claflin, “Me Before You“).
One of the stars of the film within the film is ‘Uncle Frank’ played by the aging but charismatic actor Ambrose Hilliard (Bill Nighy, “Dad’s Army“, “Love Actually”). Catrin proves her worth by pouring oil on troubled waters as the army insist on the introduction of an American airman (Jake Lacy, “Carol“) to the stressful mix. An attraction builds between Catrin and Tom, but how will the love triangle resolve itself? (For a significant clue see the “Spoiler Section” below the trailer, but be warned that this is a major spoiler!).
As you might expect if you’ve seen the trailer the film is, in the main, warm and funny with Gemma Arterton just gorgeously huggable as the determined young lady trying to make it in a misogynistic 40’s world of work. Arterton is just the perfect “girl next door”: (sigh… if I was only 20 years younger and unattached!) But mixed in with the humour and the romantic storyline is a harsh sprinkling of the trials of war and not a little heartbreak occurs. This is at least a 5 tissue movie.
Claflin, who is having a strong year with appearances in a wide range of films, is also eminently watchable. One of his best scenes is a speech with Arterton about “why people love the movies”, a theory that the film merrily and memorably drives a stake through the heart of!
Elsewhere Lacy is hilarious as the hapless airman with zero acting ability; Helen McCrory (“Harry Potter”) as Sophie Smith vamps it up wonderfully as the potential Polish love interest for Hilliard; Richard E Grant (“Logan“) and Jeremy Irons (“The Lion King”, “Die Hard: with a Vengeance”) pop up in useful cameos and Eddie Marsan (“Sherlock Holmes”) is also touching as Hilliard’s long-suffering agent.
But it is Bill Nighy’s Hilliard who carries most of the wit and humour of the film with his pompous thespian persona, basking in the dwindling glory of a much loved series of “Inspector Lynley” films. With his pomposity progressively warming under the thawing effect of Sophie and Catrin, you have to love him! Bill Nighy is, well, Bill Nighy. Hugh Grant gets it (unfairly) in the neck for “being Hugh Grant” in every film, but this pales in comparison with Nighy’s performances! But who cares: his kooky delivery is just delightful and he is a national treasure!
Slightly less convincing for me was Rachael Stirling’s role as a butch ministry busybody with more than a hint of the lesbian about her. Stirling’s performance in the role is fine, but would this really have been so blatant in 1940’s Britain? This didn’t really ring true for me.
While the film gamely tries to pull off London in the Blitz the film’s limited budget (around £25m) makes everything feel a little underpowered and ’empty’: a few hundred more extras in the Underground/Blitz scenes for example would have helped no end. However, the special effects crew do their best and the cinematography by Sebastian Blenkov (“The Riot Club”) suitably conveys the mood: a scene where Catrin gets caught in a bomb blast outside a clothes shop is particularly moving.
As with all comedy dramas, sometimes the bedfellows lie uncomfortably with each other, and a couple of plot twists: one highly predictable; one shockingly unpredictable make this a non-linear watch. This rollercoaster of a script by Gaby Chiappe, in an excellent feature film debut (she actually also has a cameo in the propaganda “carrot film”!), undeniably adds interest and makes the film more memorable. However (I know from personal experience) that the twist did not please everyone in the audience!
Despite its occasionally uneven tone, this is a really enjoyable watch (particularly for more mature audiences) and Danish director Lone Scherfig finally has a vehicle that matches the quality of her much praised Carey Mulligan vehicle “An Education”.
The brave crew of the Nancy Starling. Bill Nighy as Uncle Frank, with twins Lily and Francesca Knight as the Starling sisters.
Enter Catrin Cole (Gemma Arterton, “The Girl with all the Gifts“) who is one such woman arriving to a dangerous London from South Wales to live with struggling disabled artist Ellis (Jack Huston, grandson of John Huston). Catrin, stretching the truth a little, brings a stirring ‘true’ tale of derring-do about the Dunkirk evacuation to the Ministry’s attention. She is then employed to “write the slop” (the woman’s dialogue) in the writing team headed by spiky Tom Buckley (Sam Claflin, “Me Before You“).
One of the stars of the film within the film is ‘Uncle Frank’ played by the aging but charismatic actor Ambrose Hilliard (Bill Nighy, “Dad’s Army“, “Love Actually”). Catrin proves her worth by pouring oil on troubled waters as the army insist on the introduction of an American airman (Jake Lacy, “Carol“) to the stressful mix. An attraction builds between Catrin and Tom, but how will the love triangle resolve itself? (For a significant clue see the “Spoiler Section” below the trailer, but be warned that this is a major spoiler!).
As you might expect if you’ve seen the trailer the film is, in the main, warm and funny with Gemma Arterton just gorgeously huggable as the determined young lady trying to make it in a misogynistic 40’s world of work. Arterton is just the perfect “girl next door”: (sigh… if I was only 20 years younger and unattached!) But mixed in with the humour and the romantic storyline is a harsh sprinkling of the trials of war and not a little heartbreak occurs. This is at least a 5 tissue movie.
Claflin, who is having a strong year with appearances in a wide range of films, is also eminently watchable. One of his best scenes is a speech with Arterton about “why people love the movies”, a theory that the film merrily and memorably drives a stake through the heart of!
Elsewhere Lacy is hilarious as the hapless airman with zero acting ability; Helen McCrory (“Harry Potter”) as Sophie Smith vamps it up wonderfully as the potential Polish love interest for Hilliard; Richard E Grant (“Logan“) and Jeremy Irons (“The Lion King”, “Die Hard: with a Vengeance”) pop up in useful cameos and Eddie Marsan (“Sherlock Holmes”) is also touching as Hilliard’s long-suffering agent.
But it is Bill Nighy’s Hilliard who carries most of the wit and humour of the film with his pompous thespian persona, basking in the dwindling glory of a much loved series of “Inspector Lynley” films. With his pomposity progressively warming under the thawing effect of Sophie and Catrin, you have to love him! Bill Nighy is, well, Bill Nighy. Hugh Grant gets it (unfairly) in the neck for “being Hugh Grant” in every film, but this pales in comparison with Nighy’s performances! But who cares: his kooky delivery is just delightful and he is a national treasure!
Slightly less convincing for me was Rachael Stirling’s role as a butch ministry busybody with more than a hint of the lesbian about her. Stirling’s performance in the role is fine, but would this really have been so blatant in 1940’s Britain? This didn’t really ring true for me.
While the film gamely tries to pull off London in the Blitz the film’s limited budget (around £25m) makes everything feel a little underpowered and ’empty’: a few hundred more extras in the Underground/Blitz scenes for example would have helped no end. However, the special effects crew do their best and the cinematography by Sebastian Blenkov (“The Riot Club”) suitably conveys the mood: a scene where Catrin gets caught in a bomb blast outside a clothes shop is particularly moving.
As with all comedy dramas, sometimes the bedfellows lie uncomfortably with each other, and a couple of plot twists: one highly predictable; one shockingly unpredictable make this a non-linear watch. This rollercoaster of a script by Gaby Chiappe, in an excellent feature film debut (she actually also has a cameo in the propaganda “carrot film”!), undeniably adds interest and makes the film more memorable. However (I know from personal experience) that the twist did not please everyone in the audience!
Despite its occasionally uneven tone, this is a really enjoyable watch (particularly for more mature audiences) and Danish director Lone Scherfig finally has a vehicle that matches the quality of her much praised Carey Mulligan vehicle “An Education”.
Gareth von Kallenbach (980 KP) rated Hellboy II: The Golden Army (Hellboy 2) (2008) in Movies
Aug 14, 2019
Hollywood is often littered with decisions that in hindsight seem to be utterly insane. For all of the big budgeted films that go on to do huge business, there are films such as “Waterworld”, “Howard The Duck”, “Hudson Hawk”, and countless others that make you scratch your head and wonder who thought they were worth the investment of millions of dollars that were needed to bring them to the big screen.
One such decision that will undoubtedly look bad with the passage of time, was the decision for Columbia not to continue the “Hellboy” film series and allow it to walk away to find a home elsewhere.
Thankfully due to the strength of “Pan’s Labyrinth”, creator Guillmo del Toro who is riding a wave of critical success, “Hellboy II: The Golden Army”, is a step up from the previous film and sets the stage for a potential series of sequels for Universal.
The film once again stars Ron Perlman as the title character, a demon of supernatural origin who was raised by humans and leads a team of gifted individuals in the ultra-secret Bureau for Paranormal Research and Defense (BPRD).
The story begins shortly after the events of the last film, and finds BPRD Director Tom Manning (Jeffrey Tambor), frustrated with Hellboy’s continued flaunting of the rules by posing for pictures and autographs while on missions, despite being sworn to keep himself and the agency a closely guarded secret.
As if this was not enough trouble, Hellboy is having issues with the love of his life Liz (Selma Blair), who is starting to have issues with his gruff mannerisms and slovenly ways.
Unknown to the BRPD a new threat is brewing in the form of Prince Nauada (Luke Goss), who plans to retrieve three pieces of a golden crown so that he may control a fabled army of golden soldiers, and wage war on humanity.
Nauada is part of the mythical world of beings that long ago formed a truce with humanity and have lived in peace. Nauada, who has lived under the rule of his father for centuries, strikes out and sets events into motion which require the BPRD to respond to a threat greater than any they have previously faced,.
With the able help of Abe Sapien (Doug Jones), and new member Johann Krauss (Seth MacFarlane), the BPRD clash with themselves and the forces of Nauada with the fate of the world in the balance.
The new film is significantly better than the previous one, and del Toro has masterfully blended the characters and many interesting sub-stories with solid action, FX, and surprising humor. There is a scene in the film where Hellboy and Abe bond over music and beer to discuss women that is truly classic as is the confrontation between Hellboy and Krauss over leadership.
del Toro is a master at creating world of fantasy and splendor and when he allows the film to venture into this area, the film truly shines. It is during the transition between fantasy and alleged reality where the film has a few rough edges. While it was great to see the characters have a more defined relationship and interaction with one another, it seemed at times that areas for potential gold were glossed over or rushed to get back to the action and FX. There are some great storylines about Hellboy’s relationship with humanity, Liz being caught between two worlds, and many more that I hope get developed more in any future films.
There were times in the film where the nearly two hour run time seemed excessive and dragged, especially leading up to a finale, that did not deliver as big an impact as the setup had hinted at.
That being said, thanks to great characters and visuals “Hellboy II: The Golden Army”, is the rare sequel that is better than the original.
One such decision that will undoubtedly look bad with the passage of time, was the decision for Columbia not to continue the “Hellboy” film series and allow it to walk away to find a home elsewhere.
Thankfully due to the strength of “Pan’s Labyrinth”, creator Guillmo del Toro who is riding a wave of critical success, “Hellboy II: The Golden Army”, is a step up from the previous film and sets the stage for a potential series of sequels for Universal.
The film once again stars Ron Perlman as the title character, a demon of supernatural origin who was raised by humans and leads a team of gifted individuals in the ultra-secret Bureau for Paranormal Research and Defense (BPRD).
The story begins shortly after the events of the last film, and finds BPRD Director Tom Manning (Jeffrey Tambor), frustrated with Hellboy’s continued flaunting of the rules by posing for pictures and autographs while on missions, despite being sworn to keep himself and the agency a closely guarded secret.
As if this was not enough trouble, Hellboy is having issues with the love of his life Liz (Selma Blair), who is starting to have issues with his gruff mannerisms and slovenly ways.
Unknown to the BRPD a new threat is brewing in the form of Prince Nauada (Luke Goss), who plans to retrieve three pieces of a golden crown so that he may control a fabled army of golden soldiers, and wage war on humanity.
Nauada is part of the mythical world of beings that long ago formed a truce with humanity and have lived in peace. Nauada, who has lived under the rule of his father for centuries, strikes out and sets events into motion which require the BPRD to respond to a threat greater than any they have previously faced,.
With the able help of Abe Sapien (Doug Jones), and new member Johann Krauss (Seth MacFarlane), the BPRD clash with themselves and the forces of Nauada with the fate of the world in the balance.
The new film is significantly better than the previous one, and del Toro has masterfully blended the characters and many interesting sub-stories with solid action, FX, and surprising humor. There is a scene in the film where Hellboy and Abe bond over music and beer to discuss women that is truly classic as is the confrontation between Hellboy and Krauss over leadership.
del Toro is a master at creating world of fantasy and splendor and when he allows the film to venture into this area, the film truly shines. It is during the transition between fantasy and alleged reality where the film has a few rough edges. While it was great to see the characters have a more defined relationship and interaction with one another, it seemed at times that areas for potential gold were glossed over or rushed to get back to the action and FX. There are some great storylines about Hellboy’s relationship with humanity, Liz being caught between two worlds, and many more that I hope get developed more in any future films.
There were times in the film where the nearly two hour run time seemed excessive and dragged, especially leading up to a finale, that did not deliver as big an impact as the setup had hinted at.
That being said, thanks to great characters and visuals “Hellboy II: The Golden Army”, is the rare sequel that is better than the original.
BankofMarquis (1832 KP) rated News of the World (2020) in Movies
Jan 17, 2021
Strongly Acted and Directed
Pound for pound, Tom Hanks is the best actor of this generation. From his big screen debut in SPLASH to his Oscar Nominated turn in BIG to his back-to-back Oscar wins for PHILADELPHIA and FORREST GUMP to more recent works like SULLY and THE POST, Hanks’ “everyman goodness” quality shines through the screen and makes him a screen presence that cannot be ignored.
And in his latest effort, the Paul Greengrass Directed NEWS OF THE WORLD, Hanks uses every molecule of his screen presence to keep the audience’s attention in a slow-paced, moody character study.
Based on the novel by Paulette Jiles, NEWS OF THE WORLD takes place in a post-Civil War Texas where a former Confederate Captain makes a living by going from town to town and reading the news to them. A chance encounter with a twice orphaned young girl alters the lives of both of them.
Writer/Director Paul Greengrass is most known for quick-cut action films like the BOURNE series or the criminally underrated GREEN ROOM, so he would seem - at first glance - as an unusual choice to adapt and direct this character study, but look further at Greengrass’ resume and you will find - in films such as UNITED 93 and CAPTAIN PHILLIPS - an ability to tell a story that is driven more by character than by action.
And this combination of Director and Actor works well for NEWS OF THE WORLD is a languidly paced piece that has a somber mood and look but Greengrass avoids the temptation of lingering on scenes or pictures too long (and there are some wonderful images captured by Greengrass and Cinemotgrapher Darius Wolski) to tell a story of a man who needs to rediscover and remake himself.
And Hanks is more than equal to the task of bringing the pragmatic, introspective Captain Jefferson Kyle Kidd character to life in a way that makes him intriguing and not boring. Hanks ability to show inherent decency in a look or a gesture is the stuff of legends and when he speaks, you listen. Which is good for Hanks is in every scene in this film and his performance needs to strongly capture the audience for this film to work - and he is more than equal to this task - so strong is Hanks in this role that I would not be surprised if there is another Oscar nomination in Tom’s near future.
Newcomer Helena Zegal is “just fine” in the other main role in this film - the young girl that Captain Kidd encounters, Johnna. This young girl is silent and shut down for most of the film and Zegal performs “shut down and silent” well. Also along for brief cameo roles of characters that Captain Kidd encounters on his journey is a bevy of wonderfully cast character actors that include Mare Winnigham, Ray McKinnon, Bill Camp and the always interesting to watch Elizabeth Marvel.
As is often the case in these sorts of films, the music/soundtrack becomes a vital part of the story that unfolds and 8 time Oscar nominated composer James Newton Howard (THE PRINCE OF TIDES) is more than up to the task. The music is another character in this film and helps set the mood along the journey.
But make no mistake, this is Hanks’ film - and he is VERY good in this. Like MIDNIGHT SKY (reviewed last month), this movie will not be for everyone - and many, many folks are going to tell me that they checked this movie out on my recommendation and were bored by it. But…if you click into the mood, motion and energy of what Greengrass is showing, you will be rewarded with an emotionally rich and complex character study.
Letter Grade: A-
8 stars (out of 10) - and you can take that to the Bank (ofMarquis)
And in his latest effort, the Paul Greengrass Directed NEWS OF THE WORLD, Hanks uses every molecule of his screen presence to keep the audience’s attention in a slow-paced, moody character study.
Based on the novel by Paulette Jiles, NEWS OF THE WORLD takes place in a post-Civil War Texas where a former Confederate Captain makes a living by going from town to town and reading the news to them. A chance encounter with a twice orphaned young girl alters the lives of both of them.
Writer/Director Paul Greengrass is most known for quick-cut action films like the BOURNE series or the criminally underrated GREEN ROOM, so he would seem - at first glance - as an unusual choice to adapt and direct this character study, but look further at Greengrass’ resume and you will find - in films such as UNITED 93 and CAPTAIN PHILLIPS - an ability to tell a story that is driven more by character than by action.
And this combination of Director and Actor works well for NEWS OF THE WORLD is a languidly paced piece that has a somber mood and look but Greengrass avoids the temptation of lingering on scenes or pictures too long (and there are some wonderful images captured by Greengrass and Cinemotgrapher Darius Wolski) to tell a story of a man who needs to rediscover and remake himself.
And Hanks is more than equal to the task of bringing the pragmatic, introspective Captain Jefferson Kyle Kidd character to life in a way that makes him intriguing and not boring. Hanks ability to show inherent decency in a look or a gesture is the stuff of legends and when he speaks, you listen. Which is good for Hanks is in every scene in this film and his performance needs to strongly capture the audience for this film to work - and he is more than equal to this task - so strong is Hanks in this role that I would not be surprised if there is another Oscar nomination in Tom’s near future.
Newcomer Helena Zegal is “just fine” in the other main role in this film - the young girl that Captain Kidd encounters, Johnna. This young girl is silent and shut down for most of the film and Zegal performs “shut down and silent” well. Also along for brief cameo roles of characters that Captain Kidd encounters on his journey is a bevy of wonderfully cast character actors that include Mare Winnigham, Ray McKinnon, Bill Camp and the always interesting to watch Elizabeth Marvel.
As is often the case in these sorts of films, the music/soundtrack becomes a vital part of the story that unfolds and 8 time Oscar nominated composer James Newton Howard (THE PRINCE OF TIDES) is more than up to the task. The music is another character in this film and helps set the mood along the journey.
But make no mistake, this is Hanks’ film - and he is VERY good in this. Like MIDNIGHT SKY (reviewed last month), this movie will not be for everyone - and many, many folks are going to tell me that they checked this movie out on my recommendation and were bored by it. But…if you click into the mood, motion and energy of what Greengrass is showing, you will be rewarded with an emotionally rich and complex character study.
Letter Grade: A-
8 stars (out of 10) - and you can take that to the Bank (ofMarquis)
Andy K (10823 KP) rated Emperor (2013) in Movies
Sep 9, 2019
A tough challenge
The end of Asian campaign of World War II is complicated. The Japanese surrender following the US dropping the pair of atomic bombs; killing hundreds of thousands, wounding many more and leaving cities in ruins. Tensions are still running at a fever pitch and many people are demanding answers and swift justice for those responsible.
"Supreme Commander" General Douglas MacArthur is put in charge of rebuilding Japan and enlists General Bonner Fellers the nearly impossible task of investigating the involvement of Japan's emperor Hirohito and whether or not he should be tried convicted and hung as a result of his orders. Did he order the attack on Pearl Harbor? What did he know and when did he know it? Was he the one who gave the orders or were his generals in charge of the overall operations? In addition, Fellers is given only 10 days to find his ruling before MacArthur has to report back to his commanders in the US.
Sellers starts with trying to figure out the people involved, find them, interview them and find those who don't want to be found. His interviews ask more questions than answer them and he feels like he is going nowhere fast.
Intertwined are his recollections of a romance he had years earlier with a Japanese exchange student who left the US and returned to her home in Japan. His emotions are getting the better of him while he thinks about his former love and attempts to locate her or learn her fate while he does his job.
Matthew Fox is the best part of this film. As a military man, he respects the chain of command and works within in, but also is able to show his emotions when he is with the woman he loves. I loved the flashback scenes as they were able to show the man as well as just the uniform and Fox did this very well.
Tommy Lee Jones played the character he plays in most of his movies. Barking orders to his underlings and enjoying very much being in charge.
I don't know very much about Japanese culture and this film helped me understand what values they hold sacred. These values highly motivate their actions which can be very noble and traditional or unrelenting and barbaric depending on the situation.
You feel real turmoil as the investigation concludes and the results which are found (or not found) and how the situation is resolved. The characters are flawed which makes them more real. This makes the story more emotional and believable.
The Japanese countryside is beautiful in the time of peace contrasted with the desolate scarred Earth shown after the bombs fell.
Compelling historical dramas always intrigue me and this one did the same.
"Supreme Commander" General Douglas MacArthur is put in charge of rebuilding Japan and enlists General Bonner Fellers the nearly impossible task of investigating the involvement of Japan's emperor Hirohito and whether or not he should be tried convicted and hung as a result of his orders. Did he order the attack on Pearl Harbor? What did he know and when did he know it? Was he the one who gave the orders or were his generals in charge of the overall operations? In addition, Fellers is given only 10 days to find his ruling before MacArthur has to report back to his commanders in the US.
Sellers starts with trying to figure out the people involved, find them, interview them and find those who don't want to be found. His interviews ask more questions than answer them and he feels like he is going nowhere fast.
Intertwined are his recollections of a romance he had years earlier with a Japanese exchange student who left the US and returned to her home in Japan. His emotions are getting the better of him while he thinks about his former love and attempts to locate her or learn her fate while he does his job.
Matthew Fox is the best part of this film. As a military man, he respects the chain of command and works within in, but also is able to show his emotions when he is with the woman he loves. I loved the flashback scenes as they were able to show the man as well as just the uniform and Fox did this very well.
Tommy Lee Jones played the character he plays in most of his movies. Barking orders to his underlings and enjoying very much being in charge.
I don't know very much about Japanese culture and this film helped me understand what values they hold sacred. These values highly motivate their actions which can be very noble and traditional or unrelenting and barbaric depending on the situation.
You feel real turmoil as the investigation concludes and the results which are found (or not found) and how the situation is resolved. The characters are flawed which makes them more real. This makes the story more emotional and believable.
The Japanese countryside is beautiful in the time of peace contrasted with the desolate scarred Earth shown after the bombs fell.
Compelling historical dramas always intrigue me and this one did the same.
Dr Dystopian (526 KP) rated The Horus Heresy - Book 1: Horus Rising in Books
Jan 8, 2018
Brilliant intro to the characters (3 more)
Well written
Difficult to put down!
Great story arch that leads into the next books
Outstanding entry book to the series
Contains spoilers, click to show
The book is divided into 3 distinct sections with parts 1 & 3 focusing on the XVI Legion, The Luna Wolves (who are later renamed The Sons of Horus), and part 2 focusing on the III Legion, The Emperors Children.
The 1st section of the book nicely introduces the main characters of the Sons of Horus consisting of Horus Lupercal, who has recently taken over as the Warmaster of Imperium of Man's Great Crusade, and his Mournival of 1st Captain Abaddon, 2nd Captain Torgaddon, 4th Captain Sejanus and 5th Captain Little Horus. With the death of Sejanus in the opening pages of the book we are introduced to the main protagonist of this book (and the following 2) in 10th Captain Loken along with some more supporting characters such as remembrancers, the Warmaster equerry Maloghurst and various other space marines.
The book follows Loken and the Sons of Horus as they, and the 63rd Expeditionary Fleet, bring world Sixty Three Ninteen to compliance and Lokens doubts about his role within the mournival and the morality of their campaign. Towards the end of section one Loken is faced with a fellow space marine who has been corrupted by chaos and attempts to kill him. This is Lokens first experience with chaos and, as such, he is unfamiliar with what has corrupted is Astartes comrade and subsequently forced to cover it up by the rest of the mournival and Horus himself.
Part 2 brings in the III Legion, The Emperors Children, and introduces Lord Commander Eidolon, 10th Captian Tarvitz and 13th Captain Lucius who have received a distress signal from the Blood Angels legion currently engaged against Megarachnids on the world Murder.
Whilst the 63rd expedition moves to join the Emperors Children at Murder, Loken discovers the existence of forbidden warrior lodges and that a number of the crew, and indeed the rest of the mournival, are part of. This leads Loken to further question his place within the legion. This part of the book also provides the first evidence of people worshipping the emperor as a deity in opposition to Imperial Truth. The section ends with the Sons of Horus aiding the Emperors Children with their campaign on Murder before being relieved by Blood Angels reenforcements and provides a brief introduction to their Primarch, Sanguinius.
Finally the 3rd part of the book see the Sons of Horus encounter the Interex, a Human civilisation that have incorporated certain aliens and alien customs into their society which is in direct opposition to the Imperium of Man who view xenos as inferior and to be exterminated. The Interex warn Loken of the existance of Kaos however it is clear that this is unknown to Loken which the Interex find uncomfortable. During negotiations between the Interex and Horus things come to a head when the Sons of Horus are accused of stealing an anathame, a semi sentient weapon created by one of the Interex's alien subject races, and war breaks out which leads to the eventual destruction of the Interex. The book ends with the Word Bearers Legion Chaplin, Erebus, having taken the anathame for study and the 63rd fleet moving on to the moon of Davin at his request.
All in all this book is very well written and highly engaging. It was one of those books that i didn't want to stop reading until it ended and have since read twice more.
Anyone wanting to get into the lore of Warhammer 40k, the background of how the 40k universe became as it now is or simply an engaging sci fi book cannot go wrong with this one.
The only negative i can find is that it ended however this is book 1 of a trilogy !
The 1st section of the book nicely introduces the main characters of the Sons of Horus consisting of Horus Lupercal, who has recently taken over as the Warmaster of Imperium of Man's Great Crusade, and his Mournival of 1st Captain Abaddon, 2nd Captain Torgaddon, 4th Captain Sejanus and 5th Captain Little Horus. With the death of Sejanus in the opening pages of the book we are introduced to the main protagonist of this book (and the following 2) in 10th Captain Loken along with some more supporting characters such as remembrancers, the Warmaster equerry Maloghurst and various other space marines.
The book follows Loken and the Sons of Horus as they, and the 63rd Expeditionary Fleet, bring world Sixty Three Ninteen to compliance and Lokens doubts about his role within the mournival and the morality of their campaign. Towards the end of section one Loken is faced with a fellow space marine who has been corrupted by chaos and attempts to kill him. This is Lokens first experience with chaos and, as such, he is unfamiliar with what has corrupted is Astartes comrade and subsequently forced to cover it up by the rest of the mournival and Horus himself.
Part 2 brings in the III Legion, The Emperors Children, and introduces Lord Commander Eidolon, 10th Captian Tarvitz and 13th Captain Lucius who have received a distress signal from the Blood Angels legion currently engaged against Megarachnids on the world Murder.
Whilst the 63rd expedition moves to join the Emperors Children at Murder, Loken discovers the existence of forbidden warrior lodges and that a number of the crew, and indeed the rest of the mournival, are part of. This leads Loken to further question his place within the legion. This part of the book also provides the first evidence of people worshipping the emperor as a deity in opposition to Imperial Truth. The section ends with the Sons of Horus aiding the Emperors Children with their campaign on Murder before being relieved by Blood Angels reenforcements and provides a brief introduction to their Primarch, Sanguinius.
Finally the 3rd part of the book see the Sons of Horus encounter the Interex, a Human civilisation that have incorporated certain aliens and alien customs into their society which is in direct opposition to the Imperium of Man who view xenos as inferior and to be exterminated. The Interex warn Loken of the existance of Kaos however it is clear that this is unknown to Loken which the Interex find uncomfortable. During negotiations between the Interex and Horus things come to a head when the Sons of Horus are accused of stealing an anathame, a semi sentient weapon created by one of the Interex's alien subject races, and war breaks out which leads to the eventual destruction of the Interex. The book ends with the Word Bearers Legion Chaplin, Erebus, having taken the anathame for study and the 63rd fleet moving on to the moon of Davin at his request.
All in all this book is very well written and highly engaging. It was one of those books that i didn't want to stop reading until it ended and have since read twice more.
Anyone wanting to get into the lore of Warhammer 40k, the background of how the 40k universe became as it now is or simply an engaging sci fi book cannot go wrong with this one.
The only negative i can find is that it ended however this is book 1 of a trilogy !
Gareth von Kallenbach (980 KP) rated Get Smart (2008) in Movies
Aug 14, 2019
In the post Cold-War era the focus on national security has changed from focusing on Eastern Block adversaries to terror cells and state sponsored terrorism. For the agents of the ultra secret agency Control, the demise of their arch nemesis KAOS was the signal that they had ceased to be important in the world of today and had shut down when in truth they just went further into a cloak of secrecy and continued their mission.
In the new movie “Get Smart” audiences are given a new interpretation of the classic Mel Brooks/Buck Henry series that started Don Adams and Barbra Feldon as a pair of secret agents tasked with saving the world.
This time out Steve Carell and Anne Hathaway star Maxwell Smart and Agent 99 as they are forced to work with one another following a devastating attack on Control headquarters which results in the exposure of their operatives worldwide.
With no agents having the required anonymity needed to perform covert missions, the Chief of Control (Alan Arkin), is forced to promote eager intelligence analyst Smart to the ranks of field agent and pairs him with Agent 99 who is still able to maintain her guise thanks to some prep work she had done for a prior assignment.
To say that 99 is not thrilled to be paired with Smart would be an understatement, as she sees the eager Smart to be an unproven liability and one that would likely cause the failure of the mission and kill both of them.
Since the ultra suave Agent 23 (Dwayne Johnson), is unable to work in the field, Smart and Agent 99 are forced to work with one another as they head off to Russia to get to the bottom of the weapons threat and hopefully follow the trail to the ultimate threat, Siegfried (Terrance Stamp), who is the brains behind an all new wave of terror that only Agent 99 and Smart can stop.
The film starts out slowly, but eventually finds its rhythm and does a decent job of blending comedy and action. Hathaway and Carell do a great job with the material as both roles require a degree of physicality that they have not shown in previous works.
The laughs on the film are constant, but they are off the more dumb humor comedy as nobody will mistake this film as a piece of high comedy. Which is not to say this is a bad thing as Carell is very likeable as Smart and while he portrays the character differently than did the late Don Adams; he maintains the goofy competence that his character requires as despite being a goofball, he does get the job done in the end.
The fine supporting work by Arkin and Johnson as well as a good amount of cameos lead to the fun of the film.
It is important to note that this is not a retelling of the original series that ran from 1965-1970 but a completely new interpretation of the series which has been updated to reflect the modern setting yet contains plenty of winks to the show that inspired it.
While many of the series catch phrases seem out of place in the film, I found myself enjoying the new film despite being a fan of the original series.
Some have leveled criticism that the film has traded locker room humor, stupid comedy, and FX for the wit and inventiveness that made the original series so popular.
I found myself enjoying the new version of the film and enjoyed the performances of the characters and while not side splittingly funny, there were more than enough chuckles along the way to keep me entertained.
Here is hoping 86 and 99 will be back on the big screen for future missions.
In the new movie “Get Smart” audiences are given a new interpretation of the classic Mel Brooks/Buck Henry series that started Don Adams and Barbra Feldon as a pair of secret agents tasked with saving the world.
This time out Steve Carell and Anne Hathaway star Maxwell Smart and Agent 99 as they are forced to work with one another following a devastating attack on Control headquarters which results in the exposure of their operatives worldwide.
With no agents having the required anonymity needed to perform covert missions, the Chief of Control (Alan Arkin), is forced to promote eager intelligence analyst Smart to the ranks of field agent and pairs him with Agent 99 who is still able to maintain her guise thanks to some prep work she had done for a prior assignment.
To say that 99 is not thrilled to be paired with Smart would be an understatement, as she sees the eager Smart to be an unproven liability and one that would likely cause the failure of the mission and kill both of them.
Since the ultra suave Agent 23 (Dwayne Johnson), is unable to work in the field, Smart and Agent 99 are forced to work with one another as they head off to Russia to get to the bottom of the weapons threat and hopefully follow the trail to the ultimate threat, Siegfried (Terrance Stamp), who is the brains behind an all new wave of terror that only Agent 99 and Smart can stop.
The film starts out slowly, but eventually finds its rhythm and does a decent job of blending comedy and action. Hathaway and Carell do a great job with the material as both roles require a degree of physicality that they have not shown in previous works.
The laughs on the film are constant, but they are off the more dumb humor comedy as nobody will mistake this film as a piece of high comedy. Which is not to say this is a bad thing as Carell is very likeable as Smart and while he portrays the character differently than did the late Don Adams; he maintains the goofy competence that his character requires as despite being a goofball, he does get the job done in the end.
The fine supporting work by Arkin and Johnson as well as a good amount of cameos lead to the fun of the film.
It is important to note that this is not a retelling of the original series that ran from 1965-1970 but a completely new interpretation of the series which has been updated to reflect the modern setting yet contains plenty of winks to the show that inspired it.
While many of the series catch phrases seem out of place in the film, I found myself enjoying the new film despite being a fan of the original series.
Some have leveled criticism that the film has traded locker room humor, stupid comedy, and FX for the wit and inventiveness that made the original series so popular.
I found myself enjoying the new version of the film and enjoyed the performances of the characters and while not side splittingly funny, there were more than enough chuckles along the way to keep me entertained.
Here is hoping 86 and 99 will be back on the big screen for future missions.