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Joe Julians (221 KP) rated Three Billboards Outside Ebbing, Missouri (2017) in Movies
Jan 17, 2018
Given that the premise to this movie focuses on the unsolved rape and murder of a teenage girl, you would be forgiven for thinking that Three Billboards Outside Ebbing, Missouri would be a bleak and depressing watch. And at times it is. This is by no means a happy movie and there is a lot of misery and upset that plagues the central characters. But, interwoven in all that is a dark comedic vibe that makes the script story and characters come to life in ways that I wasn’t expecting going in.
The film starts us off seven months after Mildred’s daughter’s death and we immediately get a sense of how frustrated she is that she’s had no answers or closure as to what happened. Her blame for this lies solely with the police department and as the man in charge, it’s Willoughby that initially is the target of her ire; his is the name that is plastered across billboard number 3. What follows is a story that is utterly engrossing for almost all of its run time. The cast here are across the board superb. Everyone here puts in a stellar performance but despite Sam Rockwell giving her a run for her money, this is Frances McDormand’s movie through and through. She’s utterly captivating in every second of screen time she gets which is all the more remarkable given that Mildred is not an easy role to play. She’s almost joyless given what has happened to her and her fractured family, yet her cynical and blunt nature allows for some wonderfully, sometimes uncomfortable, comedic moments that really help make the character one that feels oddly warm despite her cold hardened exterior.
I mentioned Rockwell too and this is the best I’ve seen him. Officer Dixon isn’t a nice guy by any stretch of the imagination. He’s a racist mother’s boy that has little care for his job or the people that he’s meant to be protecting. And yet despite his flaws, Rockwell makes him almost sympathetic. Dixon also ends up having what I think to be the best arc of the whole movie- something I would not have picked when he first appeared on the screen and showed what kind of man he is. Just naming these two seems like a detriment to everyone else as there isn’t anyone that puts a foot wrong. Harrelson for example is wonderful as Chief Willoughby and delivers a nuanced and understated performance that really made me feel for the character and the horrible things he’s going through. Even those with far smaller parts are memorable, such as Peter Dinklage as the alcoholic “town midget” with an unreciprocated crush.
Performances aside, Three Billboards would be nothing without a decent script and Martin McDonagh delivers that in spades. This is a sharp script that doesn’t waste a moment of dialogue. And there’s some fantastic lines here with laughs coming at the most unexpected moments and at the most unexpected of times. There’s an early zinger in a scene with Mildred and a priest at her home that took me by surprise with its crassness that seemed to perfectly suit the scene. McDonagh is also on directing duties and he is equally as impressive with that as he is with penning the screenplay. This is a beautifully shot film with the rural location and the small-town setting used perfectly. He never oversells a moment despite the fact there are a few moments where it would be possible to do so. One scene in particular featuring Mildred in perhaps her angriest moment of the movie could easily have been overblown, yet it’s somewhat subdued despite being the closest to an action sequence that we get.
If there’s issues to be found in Three Billboards, it would be, at least for me, its ending. Until just before the credits rolled, this was an easy perfect score film for me, yet it’s ambiguity with its conclusion left me feeling a little cold. It’s not that I need every story I experience to have a neat and clear-cut end, but this was one that I felt needed something more final to close it out. It almost feels like it ended too soon, like there were a few more minutes worth of story still to be told that for whatever reason ended up being removed from the final product. Of course, that’s not the case, but it’s hard not to feel like things are left incomplete in a way that is more frustrating than they are intriguing.
Verdict
Despite an ending that felt too abrupt, Three Billboards Outside Ebbing Missouri is a joy to watch. Brilliantly written, acted and directed, this is one of those movies that had me completely immersed in its world right from the start and had me gripped until the final frame. Highly recommended.
The film starts us off seven months after Mildred’s daughter’s death and we immediately get a sense of how frustrated she is that she’s had no answers or closure as to what happened. Her blame for this lies solely with the police department and as the man in charge, it’s Willoughby that initially is the target of her ire; his is the name that is plastered across billboard number 3. What follows is a story that is utterly engrossing for almost all of its run time. The cast here are across the board superb. Everyone here puts in a stellar performance but despite Sam Rockwell giving her a run for her money, this is Frances McDormand’s movie through and through. She’s utterly captivating in every second of screen time she gets which is all the more remarkable given that Mildred is not an easy role to play. She’s almost joyless given what has happened to her and her fractured family, yet her cynical and blunt nature allows for some wonderfully, sometimes uncomfortable, comedic moments that really help make the character one that feels oddly warm despite her cold hardened exterior.
I mentioned Rockwell too and this is the best I’ve seen him. Officer Dixon isn’t a nice guy by any stretch of the imagination. He’s a racist mother’s boy that has little care for his job or the people that he’s meant to be protecting. And yet despite his flaws, Rockwell makes him almost sympathetic. Dixon also ends up having what I think to be the best arc of the whole movie- something I would not have picked when he first appeared on the screen and showed what kind of man he is. Just naming these two seems like a detriment to everyone else as there isn’t anyone that puts a foot wrong. Harrelson for example is wonderful as Chief Willoughby and delivers a nuanced and understated performance that really made me feel for the character and the horrible things he’s going through. Even those with far smaller parts are memorable, such as Peter Dinklage as the alcoholic “town midget” with an unreciprocated crush.
Performances aside, Three Billboards would be nothing without a decent script and Martin McDonagh delivers that in spades. This is a sharp script that doesn’t waste a moment of dialogue. And there’s some fantastic lines here with laughs coming at the most unexpected moments and at the most unexpected of times. There’s an early zinger in a scene with Mildred and a priest at her home that took me by surprise with its crassness that seemed to perfectly suit the scene. McDonagh is also on directing duties and he is equally as impressive with that as he is with penning the screenplay. This is a beautifully shot film with the rural location and the small-town setting used perfectly. He never oversells a moment despite the fact there are a few moments where it would be possible to do so. One scene in particular featuring Mildred in perhaps her angriest moment of the movie could easily have been overblown, yet it’s somewhat subdued despite being the closest to an action sequence that we get.
If there’s issues to be found in Three Billboards, it would be, at least for me, its ending. Until just before the credits rolled, this was an easy perfect score film for me, yet it’s ambiguity with its conclusion left me feeling a little cold. It’s not that I need every story I experience to have a neat and clear-cut end, but this was one that I felt needed something more final to close it out. It almost feels like it ended too soon, like there were a few more minutes worth of story still to be told that for whatever reason ended up being removed from the final product. Of course, that’s not the case, but it’s hard not to feel like things are left incomplete in a way that is more frustrating than they are intriguing.
Verdict
Despite an ending that felt too abrupt, Three Billboards Outside Ebbing Missouri is a joy to watch. Brilliantly written, acted and directed, this is one of those movies that had me completely immersed in its world right from the start and had me gripped until the final frame. Highly recommended.
Lee (2222 KP) rated Relic (2020) in Movies
Sep 2, 2020
I only became aware of Relic back in June. After looking into it a little more, I started to come across the traditional ‘scariest movie of the year’ headlines, which seem to accompany the release of pretty much every movie of this kind before release. I also saw comparisons being made to both Hereditary and The Babadook, and anyone who has ever heard any of my rantings on the subject before will know exactly which opposite ends of the movie rating scale I consider those movies to be on! Thankfully, this feature debut from writer/director Natalie Erika James lands nicely on the same end of the scale as The Babadook.
When Kay (Emily Mortimer) receives word that her elderly mother, Edna (Robyn Nevin) has gone missing, she and daughter Sam (Bella Heathcote) drive out to her rural home to investigate. We’d already been introduced to Edna briefly in the opening scene, where she stood naked with her back to us, in a sequence which had already managed to introduce an overwhelming sense of dread and unease. Something that Relic continues to build upon for much of its 89 minute runtime.
Kay and Sam spend some time in the house, liaising with the police and looking for clues to Edna’s whereabouts while they rummage through her large house. Post-it note reminders are dotted around the house, indicating that Edna is now struggling with dementia. From the simple, helpful kind of reminder, such as “take pills” and “turn off the tap”, to the slightly more sinister “don’t follow it”. There are lots of strange, unexplained noises in the house too, with a black mould growing on some of the walls. All the while, a pulsing, pounding score in the background continues to effectively layer up on that dread and unease I mentioned before. While browsing through some paperwork, Kay finds an old sketch of a cabin in the woods and casually mentions to Sam that it was where her great grandfather died alone, of dementia. Apparently the windows, and other elements of the cabin, were used in the building of the house that they are now in, and despite the fact that Kay is currently suffering from dark and disturbing nightmares involving the cabin and her great grandfather, none of this seems to trigger any alarm bells whatsoever!
When Edna suddenly returns home one morning, with no memory of where she’s been, she has dirt under her fingernails and a large and nasty bruise on her chest, which over time begins to look suspiciously like that black mould that’s forming on the walls. While Sam wants to stay and be near to her grandmother, Kay is more focused in checking out care homes to ship her off to. Edna swings between being perfectly normal, with a sharp memory, to periods of forgetfulness and rage. Some time taken to follow the family interactions over the next few days really helps to deepen the characters’ relationships in our minds, highlighting existing tensions between them. And restricting pretty much all of the movie to the confines of the mysterious house only serves to ramp up the unease, in preparation for the final act.
The description of Relic on IMDb states “a manifestation of dementia consumes the family home”, and you can probably gather as much anyway, just by watching the trailer. Instead of the traditional haunted-house movie that you might expect from the earlier part of the movie, we’re treated to an allegory for the horrors of dementia. The house becomes the star of the movie, seemingly altering itself to induce claustrophobia, confusion and panic in Sam and Kay as they become trapped in its shifting corridors, lowered ceilings and newly sealed doors.
Relic can at times feel a little too metaphor driven, and while I understood the beauty and the meaning behind it’s closing moments, I felt it threw up a lot more questions than it answered. Depending on how much that bothers you may affect your overall enjoyment, but I still found it to be an impressively original movie, which successfully managed to creep me out!
When Kay (Emily Mortimer) receives word that her elderly mother, Edna (Robyn Nevin) has gone missing, she and daughter Sam (Bella Heathcote) drive out to her rural home to investigate. We’d already been introduced to Edna briefly in the opening scene, where she stood naked with her back to us, in a sequence which had already managed to introduce an overwhelming sense of dread and unease. Something that Relic continues to build upon for much of its 89 minute runtime.
Kay and Sam spend some time in the house, liaising with the police and looking for clues to Edna’s whereabouts while they rummage through her large house. Post-it note reminders are dotted around the house, indicating that Edna is now struggling with dementia. From the simple, helpful kind of reminder, such as “take pills” and “turn off the tap”, to the slightly more sinister “don’t follow it”. There are lots of strange, unexplained noises in the house too, with a black mould growing on some of the walls. All the while, a pulsing, pounding score in the background continues to effectively layer up on that dread and unease I mentioned before. While browsing through some paperwork, Kay finds an old sketch of a cabin in the woods and casually mentions to Sam that it was where her great grandfather died alone, of dementia. Apparently the windows, and other elements of the cabin, were used in the building of the house that they are now in, and despite the fact that Kay is currently suffering from dark and disturbing nightmares involving the cabin and her great grandfather, none of this seems to trigger any alarm bells whatsoever!
When Edna suddenly returns home one morning, with no memory of where she’s been, she has dirt under her fingernails and a large and nasty bruise on her chest, which over time begins to look suspiciously like that black mould that’s forming on the walls. While Sam wants to stay and be near to her grandmother, Kay is more focused in checking out care homes to ship her off to. Edna swings between being perfectly normal, with a sharp memory, to periods of forgetfulness and rage. Some time taken to follow the family interactions over the next few days really helps to deepen the characters’ relationships in our minds, highlighting existing tensions between them. And restricting pretty much all of the movie to the confines of the mysterious house only serves to ramp up the unease, in preparation for the final act.
The description of Relic on IMDb states “a manifestation of dementia consumes the family home”, and you can probably gather as much anyway, just by watching the trailer. Instead of the traditional haunted-house movie that you might expect from the earlier part of the movie, we’re treated to an allegory for the horrors of dementia. The house becomes the star of the movie, seemingly altering itself to induce claustrophobia, confusion and panic in Sam and Kay as they become trapped in its shifting corridors, lowered ceilings and newly sealed doors.
Relic can at times feel a little too metaphor driven, and while I understood the beauty and the meaning behind it’s closing moments, I felt it threw up a lot more questions than it answered. Depending on how much that bothers you may affect your overall enjoyment, but I still found it to be an impressively original movie, which successfully managed to creep me out!
The Philosophy of Horror
Book
Sitting on pins and needles, anxiously waiting to see what will happen next, horror audiences crave...
Daniel Boyd (1066 KP) rated GoodFellas (1990) in Movies
Aug 25, 2020
Cast (3 more)
Sets
Script
Directing
Masterpiece
Contains spoilers, click to show
At the weekend, I was lucky enough to go and see one of my favourite films ever made on the big screen; Goodfellas. I thoroughly enjoyed the experience of seeing the movie in an actual cinema, but it has been a few years since I have last seen it and seeing it after seeing some of Scorsese’s more recent efforts, I actually saw the story in a different light.
Here me out here; Goodfellas is a religious story.
I know what you are thinking, “But Scorsese has already made religious movies with The Last Temptation of Christ and Silence. Goodfellas is about gangsters and murder and the only brief mention of religion in the movie is the fact that Karen is Jewish and Henry wears a cross.” Well none of that is strictly untrue, but there were just several points of the movie that I just couldn’t help but feel an implied religious undertone.
The first of which is in the opening scene of the movie, when Henry, Tommy and Jimmy open the boot of the car to finish off Billy Batts. The bright red tail light shines harshly on Henry’s face as he watches a man die and delivers his iconic voiceover: “As far back as I can remember, I’ve always wanted to be a gangster.” Here we are being introduced to a man who is capable of literally staring death in the face and metaphorically staring into the jaws of hell without even flinching.
From this point on, Henry is our guide into this forbidden underworld. He treats us the viewers as total newcomers to this chaotic landscape as he attempts to sell to us how great it is to live this way. It’s akin to Virgil guiding Dante through the various circles of hell in the Divine Comedy. This idea of Henry being a guide into hell is most explicit in the scene of his and Karen’s first real date at the Copacabana nightclub. In this scene we are treated to a glorious tracking shot that follows the couple all the way from their car to their seat directly in front of the stage. The first major direction we are taken is down. We descend down a staircase into a hallway painted red, in fact if you pay attention to the background in this entire sequence, there is almost always at least one red object onscreen. All the way to the table, Henry is greeted by various sinners as the ‘Then He Kissed Me,’ plays in the background; a song of seduction and lust.
Another example of this is the famous scene where Henry introduces us to various gangsters such as Jimmy Two Times through voiceover. Once again, the environment is littered with red light and dark shadowed areas as we are being introduced to a batch of sinners, thieves and murderers.
After Tommy’s death, the period of seduction in the movie is over. From this point on, we are seeing the intense fall of Henry’s world. It is just as chaotic as the first half of the movie, but now Henry and his friends are no longer in charge of the chaos and slowly they are beginning to lose control of everything that was once theirs. All of a sudden the momentum that has carried the movie and Henry’s life up until this point is brought to a halt, most obviously manifested in the scene of Henry driving far too fast despite being unaware of wait awaits him ahead and having to slam on his breaks and come to a screeching stop mere inches away from crashing. What direction is he looking just prior to this? He’s looking up for the chopper that he suspects has been following him, however he is also looking in the direction of Heaven, looking for a threat of something bigger than him that threatens to put a stop to his sinful lifestyle.
In the movie’s epilogue, once Henry gives up Jimmy and Paulie to the FBI, we see him in an entirely different environment. He’s dressed different, the weather is different and he describes how he is now just a nobody like everyone else as if that to him is a fate worse that death. Almost as if, he is in Limbo. No longer is he amongst the sinners in a world of gratification and sin, but instead he is in a ‘safe,’ environment where he can’t do anything even remotely illegal or morally questionable because he is being monitored by people just waiting for him to slip up. Then the very last shot we see is Tommy shooting at the audience. This is not only a very neat bookend as both the opening scene and final scene of the movie see Tommy committing a violent act, but it signifies that elements of Henry’s old life still follow him and he will spend the rest of his days looking over his shoulder for demons from his old life, like Tommy waiting to snuff him out.
Maybe I’m reaching slightly with this, but I feel like at least a few of these choices were intentionally put in by Scorsese. Especially the opening scene showing the murder of Billy Batts and the tracking shot as we are taken into the Copacabana. After watching recently watching Silence and The Irishman, it is clear that faith and mortality are both things that heavily weigh on Scorsese’s mind, so I don’t think that it is too much of a stretch to say that it was probably something that was at least in the back of his mind in 1990.
Regardless, this movie is a masterpiece and is still great no matter how many times you have seen it previously. It feels so authentic and genuine through the direction and presentation and the fantastic performances given by the respective cast members allow the characters to feel so real and deep. There is a reason that this is still considered as one of the seminal gangster movies. 10/10
Here me out here; Goodfellas is a religious story.
I know what you are thinking, “But Scorsese has already made religious movies with The Last Temptation of Christ and Silence. Goodfellas is about gangsters and murder and the only brief mention of religion in the movie is the fact that Karen is Jewish and Henry wears a cross.” Well none of that is strictly untrue, but there were just several points of the movie that I just couldn’t help but feel an implied religious undertone.
The first of which is in the opening scene of the movie, when Henry, Tommy and Jimmy open the boot of the car to finish off Billy Batts. The bright red tail light shines harshly on Henry’s face as he watches a man die and delivers his iconic voiceover: “As far back as I can remember, I’ve always wanted to be a gangster.” Here we are being introduced to a man who is capable of literally staring death in the face and metaphorically staring into the jaws of hell without even flinching.
From this point on, Henry is our guide into this forbidden underworld. He treats us the viewers as total newcomers to this chaotic landscape as he attempts to sell to us how great it is to live this way. It’s akin to Virgil guiding Dante through the various circles of hell in the Divine Comedy. This idea of Henry being a guide into hell is most explicit in the scene of his and Karen’s first real date at the Copacabana nightclub. In this scene we are treated to a glorious tracking shot that follows the couple all the way from their car to their seat directly in front of the stage. The first major direction we are taken is down. We descend down a staircase into a hallway painted red, in fact if you pay attention to the background in this entire sequence, there is almost always at least one red object onscreen. All the way to the table, Henry is greeted by various sinners as the ‘Then He Kissed Me,’ plays in the background; a song of seduction and lust.
Another example of this is the famous scene where Henry introduces us to various gangsters such as Jimmy Two Times through voiceover. Once again, the environment is littered with red light and dark shadowed areas as we are being introduced to a batch of sinners, thieves and murderers.
After Tommy’s death, the period of seduction in the movie is over. From this point on, we are seeing the intense fall of Henry’s world. It is just as chaotic as the first half of the movie, but now Henry and his friends are no longer in charge of the chaos and slowly they are beginning to lose control of everything that was once theirs. All of a sudden the momentum that has carried the movie and Henry’s life up until this point is brought to a halt, most obviously manifested in the scene of Henry driving far too fast despite being unaware of wait awaits him ahead and having to slam on his breaks and come to a screeching stop mere inches away from crashing. What direction is he looking just prior to this? He’s looking up for the chopper that he suspects has been following him, however he is also looking in the direction of Heaven, looking for a threat of something bigger than him that threatens to put a stop to his sinful lifestyle.
In the movie’s epilogue, once Henry gives up Jimmy and Paulie to the FBI, we see him in an entirely different environment. He’s dressed different, the weather is different and he describes how he is now just a nobody like everyone else as if that to him is a fate worse that death. Almost as if, he is in Limbo. No longer is he amongst the sinners in a world of gratification and sin, but instead he is in a ‘safe,’ environment where he can’t do anything even remotely illegal or morally questionable because he is being monitored by people just waiting for him to slip up. Then the very last shot we see is Tommy shooting at the audience. This is not only a very neat bookend as both the opening scene and final scene of the movie see Tommy committing a violent act, but it signifies that elements of Henry’s old life still follow him and he will spend the rest of his days looking over his shoulder for demons from his old life, like Tommy waiting to snuff him out.
Maybe I’m reaching slightly with this, but I feel like at least a few of these choices were intentionally put in by Scorsese. Especially the opening scene showing the murder of Billy Batts and the tracking shot as we are taken into the Copacabana. After watching recently watching Silence and The Irishman, it is clear that faith and mortality are both things that heavily weigh on Scorsese’s mind, so I don’t think that it is too much of a stretch to say that it was probably something that was at least in the back of his mind in 1990.
Regardless, this movie is a masterpiece and is still great no matter how many times you have seen it previously. It feels so authentic and genuine through the direction and presentation and the fantastic performances given by the respective cast members allow the characters to feel so real and deep. There is a reason that this is still considered as one of the seminal gangster movies. 10/10
Neon's Nerd Nexus (360 KP) rated Upgrade (2018) in Movies
May 14, 2019
Reboot
#upgrade #upgrademovie is insane & possibly the biggest surprise of the year. Its dark, dirty, gritty, raw & I absolutely #loved every second of it. Upgrade clearly wears its influences on its sleeve right from the start, there's elements of #Dredd, #Robocop, #TheMatrix & also #Terminator & its style is a straight #nostalgic mash up of #80s & #90s #scifi. What's so good about it however is amongst all this influence is an intricately woven style of its own. Its a low budget #film but you wouldn't know it as cgi is fantastic/minimal & works so well with some of the best #practicaleffects I've seen in ages. Gore is so realistic/#savage & shocking at one point I almost stood up out my seat in sheer shock. Cinematography is #beautiful/creative & at times wouldnt look out of place in a #bladerunner film. Environments look nasty, hostile & damn right grimy giving the film such a raw & depressing quality like it too is also a character. Ive always loved #loganmarshallgreen his physical acting here is next level. How he moves his body in this movie is out of this world impressive (especially when the system takes over his body). He plays the role perfect making his body act robotic while his face reacts with sheer fear & panic (its not only hilarious but terrible & utterly fascinating too). Camera work when he's moving is seriously impressive too moving in almost a robotic kind of way twisting, turning & jolting with every move #logan makes. With an unnerving/memorable score & an over all message of #technology enslaving us all/how no matter how much we hate machines we all eventually become reliant on them in some way Upgrade is a must see. Its not very often a small film like this comes along so we must all go see it to encourage directors to make more. One hell of a great time & a film I can't wait to own. #odeon #odeonlimitless #filmbuff #filmcritic #filmreview #saturdaynight #horror #gore #violent #cyberpunk #grindhouse
Matthew Krueger (10051 KP) rated the Xbox One version of Friday the 13th : The Game in Video Games
Feb 26, 2020
Now This Is A Friday The 13th Game
Friday The 13th- is a movie franchise, the had a video game on the NES but it was god awful. So many years later, a kickstarter happened for this game and overall, US$422,866 was raised by 18,068 backers in BackerKit and about US$823,704.20 from 12,128 backers in Kickstarter, collecting about US$1,246,570.20 from both platforms, becoming the 95th most crowdfunded project of all time. So yea it succed. So lets talk about the game.
Gameplay:
Friday the 13th: The Game is a semi-open world third-person survival horror game set throughout the 1980s in a variety of locations in and around the fictional Camp Crystal Lake from the Friday the 13th franchise.
The game is an asymmetrical multiplayer video game, with up to eight people able to play in one game session. One player is randomly selected to control Jason Voorhees.
The main objective of playing as a counselor is to escape the map alive, which can be done more quickly by completing the map's side objectives (which are easier to complete when coordinating with other players) that will allow counselors to escape or to survive long enough until time runs out on the session, Jason may also be defeated with an "epic win condition" that requires both teamwork and planning, and is difficult to perform. A player may also control Tommy Jarvis, who becomes playable when certain conditions are met.
Setting: Five primary maps are available, each of which are based on locations from the first five films, and each set concurrent with the films' time periods. Matches may take place at: Camp Crystal Lake, the setting of the first film, in 1979; Packanack Lodge, the setting of the second film, in 1984; Higgins Haven, the setting of the third film, in 1984; the Jarvis House, the setting of the fourth film, in 1984; and Pinehurst, the setting of the fifth film, in 1989.
Its a really good, entertaining, fun and overall finally a good Friday The 13th game.
Gameplay:
Friday the 13th: The Game is a semi-open world third-person survival horror game set throughout the 1980s in a variety of locations in and around the fictional Camp Crystal Lake from the Friday the 13th franchise.
The game is an asymmetrical multiplayer video game, with up to eight people able to play in one game session. One player is randomly selected to control Jason Voorhees.
The main objective of playing as a counselor is to escape the map alive, which can be done more quickly by completing the map's side objectives (which are easier to complete when coordinating with other players) that will allow counselors to escape or to survive long enough until time runs out on the session, Jason may also be defeated with an "epic win condition" that requires both teamwork and planning, and is difficult to perform. A player may also control Tommy Jarvis, who becomes playable when certain conditions are met.
Setting: Five primary maps are available, each of which are based on locations from the first five films, and each set concurrent with the films' time periods. Matches may take place at: Camp Crystal Lake, the setting of the first film, in 1979; Packanack Lodge, the setting of the second film, in 1984; Higgins Haven, the setting of the third film, in 1984; the Jarvis House, the setting of the fourth film, in 1984; and Pinehurst, the setting of the fifth film, in 1989.
Its a really good, entertaining, fun and overall finally a good Friday The 13th game.
LoganCrews (2861 KP) rated A Million Ways to Die in the West (2014) in Movies
Sep 21, 2020
Realistically? This is only *ever* so slightly worse than 𝘛𝘩𝘦 𝘉𝘢𝘭𝘭𝘢𝘥 𝘰𝘧 𝘉𝘶𝘴𝘵𝘦𝘳 𝘚𝘤𝘳𝘶𝘨𝘨𝘴, by a unit of less than a hair. I'd consider this to be about 45% funny, 55% unfunny in almost note-precise measure. Granted some of the humor does come from how jarringly wacky and final the scene-to-scene structure is - which unlike the majority I don't have a problem with because it shows how committed this is to truly trying to make you laugh, which I can respect. Though even its funniest moments are a far cry from the likes of the debilitatingly hilarious 𝘛𝘦𝘥 movies (the Gwendolyn joke is always a winner, though). Cut out the boring Theron + Neeson stuff and you could be left with a nicely lean, unique little comedy. I admire that this tries to be more than your average throwaway comedy by introducing like ten different plotlines but none of them ever come together smoothly at all and as a result it falls into *heavy* tedium quite regularly. My other main gripe is that MacFarlane (who does hold his weight here) plays the ultimate fucking incel - that dude who never lets people have fun on social media and swears women should just start lining up to fuck him just because he's superficially a self-proclaimed 'nice guy'. I'd hate that less if he didn't leave the ultra-talented pair of Charlize Theron and Amanda Seyfried to both be shoved unceremoniously to the corner as second and third fiddles who are relegated to kissing his despicable ass the entire time rather than flexing their comedic chops. Also quick side gripe, 85% of the jokes in the gag reel are funnier than the ones in the movie? Wtf?? But a mustachioed Neil Patrick Harris diarrheas into not one... but TWO different bowler hats. So its goofy streak satiated me for what that's worth. And I'll also support at least giving Wes Studi a more meatier role than all of 𝘏𝘰𝘴𝘵𝘪𝘭𝘦𝘴.
Phillip McSween (751 KP) rated Dumplin' (2018) in Movies
Jan 16, 2019
Good On So Many Levels
High school student Willowdean (Danielle MacDonald) decides to enter a beauty pageant to spite her mom Rosie (Jennifer Aniston), a former pageant queen.
Acting: 10
Beginning: 10
Characters: 10
The characters in this story are not just unique and enjoyable. They also represent the melting pot of what this world should be. Willowdean feels out of place because she is heavyset so she tries to attack herself before others do. Her Aunt Lucy (Hilliary Begley) tried to teach her to do the opposite before she passed away, but Willowdean didn’t grasp her aunt’s confidence unfortunately. Through her journey of pageant life, she makes two good friends: Hannah (Bex Taylor-Klaus) who is anti-establishment (or anti-everything, rather) and Millie (Maddie Baillio) a ball of happiness with an overprotective mom. They are at the core of a slew of good characters that brighten the story. And did I mention the drag queens? Phe-no-men-al.
Cinematography/Visuals: 10
Conflict: 10
The conflict here is less about outward confrontation and more about inner discovery. Willowdean’s greatest enemy is herself, something most of us can probably relate to. It is refreshing to watching her battle old demons while coming to terms with who she is and who she can be. Destroying yourself is toxic and Dumplin’ shows how a negative view of one’s self can damage and destroy the relationships around us.
Genre: 10
Memorability: 8
The story as a whole has a magical feeling to it that’s centered in realism, almost like a trailer park Cinderella. I thought of all the 201 movies I watched in 2018. Few touched me quite like this one. A really memorable movie can make you laugh, maybe cry a little, and reflect. Dumplin’ gets the job done. It teaches you never to underestimate yourself and to go all out even when you don’t think you have a shot.
Pace: 10
I love when storytelling is consistent and blends seamlessly from one scene to the next. You get that here. There’s not a whole lot of pointless dialogue that takes you nowhere or random scenes that forces relationship-building. It moves consistently like a batch of waves. Before you know it, it’s over and you’ve had a great ride.
Plot: 10
The story isn’t just original but heartfelt. Something we can all get behind. I can honestly say that I’ve never seen anything like it. You can see the ending coming a mile away, but you’re having so much of a good time you don’t care!
Resolution: 10
Just as with the plot, you definitely see the ending coming a mile away. Doesn’t make it any less awesome or touching. Mum’s the word, but it ties on a nice little bow on the movie as a whole.
Overall: 98
I’m always wary of Netflix originals. Not because they can’t be good, I’ve seen plenty of amazing things on Netflix. Rather I understand that there’s a pressure for them to keep putting out original content at a fast pace because the market is catching up. This could mean more swings-and-misses. Dumplin’ is not a casualty of that in the least. Quality movie.
Acting: 10
Beginning: 10
Characters: 10
The characters in this story are not just unique and enjoyable. They also represent the melting pot of what this world should be. Willowdean feels out of place because she is heavyset so she tries to attack herself before others do. Her Aunt Lucy (Hilliary Begley) tried to teach her to do the opposite before she passed away, but Willowdean didn’t grasp her aunt’s confidence unfortunately. Through her journey of pageant life, she makes two good friends: Hannah (Bex Taylor-Klaus) who is anti-establishment (or anti-everything, rather) and Millie (Maddie Baillio) a ball of happiness with an overprotective mom. They are at the core of a slew of good characters that brighten the story. And did I mention the drag queens? Phe-no-men-al.
Cinematography/Visuals: 10
Conflict: 10
The conflict here is less about outward confrontation and more about inner discovery. Willowdean’s greatest enemy is herself, something most of us can probably relate to. It is refreshing to watching her battle old demons while coming to terms with who she is and who she can be. Destroying yourself is toxic and Dumplin’ shows how a negative view of one’s self can damage and destroy the relationships around us.
Genre: 10
Memorability: 8
The story as a whole has a magical feeling to it that’s centered in realism, almost like a trailer park Cinderella. I thought of all the 201 movies I watched in 2018. Few touched me quite like this one. A really memorable movie can make you laugh, maybe cry a little, and reflect. Dumplin’ gets the job done. It teaches you never to underestimate yourself and to go all out even when you don’t think you have a shot.
Pace: 10
I love when storytelling is consistent and blends seamlessly from one scene to the next. You get that here. There’s not a whole lot of pointless dialogue that takes you nowhere or random scenes that forces relationship-building. It moves consistently like a batch of waves. Before you know it, it’s over and you’ve had a great ride.
Plot: 10
The story isn’t just original but heartfelt. Something we can all get behind. I can honestly say that I’ve never seen anything like it. You can see the ending coming a mile away, but you’re having so much of a good time you don’t care!
Resolution: 10
Just as with the plot, you definitely see the ending coming a mile away. Doesn’t make it any less awesome or touching. Mum’s the word, but it ties on a nice little bow on the movie as a whole.
Overall: 98
I’m always wary of Netflix originals. Not because they can’t be good, I’ve seen plenty of amazing things on Netflix. Rather I understand that there’s a pressure for them to keep putting out original content at a fast pace because the market is catching up. This could mean more swings-and-misses. Dumplin’ is not a casualty of that in the least. Quality movie.
David McK (3562 KP) rated Dune (2021) in Movies
Nov 17, 2021 (Updated Feb 25, 2024)
What. On. Arrakis.?!?
Part 1 of Dennis Villeneuve's take on the famous Frank Herbert sci-fi tome of the same (brazenly even called part 1 before part 2 was confirmed - it is now), with quite a wealth of talent on screen and with some gorgeous backdrops throughout.
Indeed, if you've seen Blade Runner 2049 by the same director, you can easily spot the similarities in the compositions of several of the shots.
I must admit that, while I know of the sand worms, spice and that the novel leans heavily into the politics of the distant future, I've never actually got round to reading the novel. As such, I don't really know all that much what to expect: a bit like when I went to see the first Lord of the Rings films at the turn of the current millennium.
However, where the Fellowship of the Ring has the advantage over this is that the latter is quite self contained: even if The Two Towers (or The Return of the King) had never been made, the film would have stood on its own. This movie, by contrast, just abruptly ends: I think the last line of dialogue might even be something along the lines of 'This is just the beginning'.
It's also very dense, with a surreal dream like quality over large swathes of it: I also found that it takes it time to actually get going!
Still, I've since heard that the first part of the book on which it is based is the slower (and denser) part, so maybe the sequel will also pick up.
Indeed, if you've seen Blade Runner 2049 by the same director, you can easily spot the similarities in the compositions of several of the shots.
I must admit that, while I know of the sand worms, spice and that the novel leans heavily into the politics of the distant future, I've never actually got round to reading the novel. As such, I don't really know all that much what to expect: a bit like when I went to see the first Lord of the Rings films at the turn of the current millennium.
However, where the Fellowship of the Ring has the advantage over this is that the latter is quite self contained: even if The Two Towers (or The Return of the King) had never been made, the film would have stood on its own. This movie, by contrast, just abruptly ends: I think the last line of dialogue might even be something along the lines of 'This is just the beginning'.
It's also very dense, with a surreal dream like quality over large swathes of it: I also found that it takes it time to actually get going!
Still, I've since heard that the first part of the book on which it is based is the slower (and denser) part, so maybe the sequel will also pick up.
Lindsay (1760 KP) rated The Christmas Swap in Books
Dec 24, 2020
Looking for a sweet Christmas themed book that deals with a romance. This book has it and a sweet way of how it goes. This deals with a house swap at Christmas time. This book reminds me of the Hallmark Movie called “The Christmas Swap.” I do not know if this was a make on that or if it was maybe inspired by it. I do not know.
The book is about two families but mostly about a songwriter that somehow ends up taking care of this own house. The way it comes about seems kind of cute. We also have Emma who is struggling to be a musician. How will Emma and West's relationship go?
Will Gillian or maybe Harris mess up the sweet romance that is blooming? Does this seem to take a turn when someone figures out who West is? Is the caretaker who he is? Emma seems to be belated with the house they are staying in and the area in Colorado. Will the family and guest learn to ski and enjoy Christmas before going home?
The author writes this book well. This book is Christmas themed and charming. I enjoyed it. The only thing I kinda wish it was a bit more to it. Though I guess, I read too many romances to see how it ends. It is not all that bad. The story is caring and a bit different in the way that the owner is the one in more of a predicament than the heroine.
The book is about two families but mostly about a songwriter that somehow ends up taking care of this own house. The way it comes about seems kind of cute. We also have Emma who is struggling to be a musician. How will Emma and West's relationship go?
Will Gillian or maybe Harris mess up the sweet romance that is blooming? Does this seem to take a turn when someone figures out who West is? Is the caretaker who he is? Emma seems to be belated with the house they are staying in and the area in Colorado. Will the family and guest learn to ski and enjoy Christmas before going home?
The author writes this book well. This book is Christmas themed and charming. I enjoyed it. The only thing I kinda wish it was a bit more to it. Though I guess, I read too many romances to see how it ends. It is not all that bad. The story is caring and a bit different in the way that the owner is the one in more of a predicament than the heroine.