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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 šš©š¦ šš¢ššš¢š„ š°š§ šš¶š“šµš¦š³ šš¤š³š¶šØšØš“, 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 šš¦š„ 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 šš°š“šµšŖšš¦š“.
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 didnāt grasp her auntās 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. Willowdeanās 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 Dumplinā shows how a negative view of oneās self can damage and destroy the relationships around us.
Genre: 10
Memorability: 8
The story as a whole has a magical feeling to it thatās 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. Dumplinā gets the job done. It teaches you never to underestimate yourself and to go all out even when you donāt 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. Thereās 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, itās over and youāve had a great ride.
Plot: 10
The story isnāt just original but heartfelt. Something we can all get behind. I can honestly say that Iāve never seen anything like it. You can see the ending coming a mile away, but youāre having so much of a good time you donāt care!
Resolution: 10
Just as with the plot, you definitely see the ending coming a mile away. Doesnāt make it any less awesome or touching. Mumās the word, but it ties on a nice little bow on the movie as a whole.
Overall: 98
Iām always wary of Netflix originals. Not because they canāt be good, Iāve seen plenty of amazing things on Netflix. Rather I understand that thereās 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. Dumplinā 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 didnāt grasp her auntās 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. Willowdeanās 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 Dumplinā shows how a negative view of oneās self can damage and destroy the relationships around us.
Genre: 10
Memorability: 8
The story as a whole has a magical feeling to it thatās 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. Dumplinā gets the job done. It teaches you never to underestimate yourself and to go all out even when you donāt 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. Thereās 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, itās over and youāve had a great ride.
Plot: 10
The story isnāt just original but heartfelt. Something we can all get behind. I can honestly say that Iāve never seen anything like it. You can see the ending coming a mile away, but youāre having so much of a good time you donāt care!
Resolution: 10
Just as with the plot, you definitely see the ending coming a mile away. Doesnāt make it any less awesome or touching. Mumās the word, but it ties on a nice little bow on the movie as a whole.
Overall: 98
Iām always wary of Netflix originals. Not because they canāt be good, Iāve seen plenty of amazing things on Netflix. Rather I understand that thereās 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. Dumplinā is not a casualty of that in the least. Quality movie.
David McK (3687 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.
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Lindsay (1786 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 āThe Christmas Swap.ā 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.
LeftSideCut (3776 KP) rated Hellbound: Hellraiser II (1988) in Movies
Nov 24, 2021
Hellbound is a sequel that stands next to it's groundbreaking predecessor as a proud equal. It's quick turnaround and it's returning crew ensure that it feels like a smooth continuation, and both films could easily be watched back to back.
The visuals go bigger and harder this time around. A longer portion of the movie is spent in the cenobites' hellish dimension, and it's a striking and otherwordly design. Once again, Pinhead and his cronies don't take up too much screentime, ensuring that they're presence is impactful. The narrative does explore the background of these antagonists a little more, but thankfully, doesn't completely destroy the mystery surrounding them, and provides an interesting plot device a bit later on.
The main villain is Dr Channard, a psychiatrist who has a dangerous obsession with the legend of the Lament Configuration. Kenneth Cranham steals the show in the role, and makes for a memorable bad guy, especially during the last half. He also has the best line - "and to think... I hesitated" - definitely a top moment in the history of horror.
Clare Higgins is another highlight, as she is in the first Hellraiser, her character delightfully more sinister than before.
Once again, Hellbound boasts some top class practical effects, contributing to its unique aesthetic, and Christopher Young absolutely smashes it out the park with another incredible music score.
Both Hellraiser and Hellbound are astonishing examples of how excellent, nightmarish, and beautiful this genre can be, and will always be hailed as high points. Great stuff.
The visuals go bigger and harder this time around. A longer portion of the movie is spent in the cenobites' hellish dimension, and it's a striking and otherwordly design. Once again, Pinhead and his cronies don't take up too much screentime, ensuring that they're presence is impactful. The narrative does explore the background of these antagonists a little more, but thankfully, doesn't completely destroy the mystery surrounding them, and provides an interesting plot device a bit later on.
The main villain is Dr Channard, a psychiatrist who has a dangerous obsession with the legend of the Lament Configuration. Kenneth Cranham steals the show in the role, and makes for a memorable bad guy, especially during the last half. He also has the best line - "and to think... I hesitated" - definitely a top moment in the history of horror.
Clare Higgins is another highlight, as she is in the first Hellraiser, her character delightfully more sinister than before.
Once again, Hellbound boasts some top class practical effects, contributing to its unique aesthetic, and Christopher Young absolutely smashes it out the park with another incredible music score.
Both Hellraiser and Hellbound are astonishing examples of how excellent, nightmarish, and beautiful this genre can be, and will always be hailed as high points. Great stuff.
Bob Mann (459 KP) rated Alita: Battle Angel (2019) in Movies
Sep 28, 2021
A Berserk Excursion Down Uncanny Valley.
āI see youā. James Cameronās fingerprints are all over this one, as producer ahead of his threatened (and with this movie-goer, entirely unwanted) Avatar sequels. Alita is a huge great smelly CGI mess of a film, but quite fun with it.
The Plot.
Christophe Waltz plays Dr. Dyson (no, not that one), a cyber-surgeon in the 24th century whose job is to give cyber/human crossovers (which just about everyone now seems to be) a āserviceā to get them back on the road again.
Hanging over Iron City ā in just the same way as bricks donāt ā is a huge floating cloud city called Zalem (āWhat keeps it up?ā; āEngineering!ā). A stream of detritus falls from the city into the scrap yards below, and Dr Dyson scavenges through the mess for parts. He discovers that the best way to get ahead in business is toā¦ get a head! In this case, itās the head and upper torso of a female āteenageā cyber-girl who he finds to be still alive and who he names āAlitaā.
But Alita (Rosa Salazar) isnāt just any teenage girl. When fitted out with a new body, one very precious to Dyson, Alita proves to have massive strength and dexterity which sets her up to trial for the national sport of Motorball: a no-holds-barred race around an arena to capture and keep a ball. Her love interest, Hugo (Keean Johnson), can help her in that department.
But dark forces are also in play and the agents of Nova, the Zalem-overseer, have great interest in destroying Alita before she can damage his plans.
What a mess!
Iāve significantly simplified the plot and reduced the characters referenced. There are so many different things going on here, itās like theyāve made Back to the Future I, II and III and squeezed them all into one film. Thereās Dysonās ex-wife Chiran (Jennifer Connolly) and her partner in crime Vector (Maherashala Ali); thereās their pet thug called Grewishka (Jackie Earle Haley); thereās a bunch of āHunter-Warriorsā including a vicious sword-wielding guy called Zapan (Ed Skrein); thereās a kind of āLost Boysā vibe to Hugoās pals including Alita-hater Tanji (Jorge Lendeborg Jr.); etc. etc. etc. Itās a huge great sprawling mess of a plot.
The movie is also highly derivative, and watching it feels like you are working through a mental set of check-boxes of the films it apes: Wall-E (check); Elysium (check); Terminator (check); Rollerball (if youāre old enough to remember that one) (check); even some Harry Potter quidditch thrown in for good measure.
Urmā¦ berserk dialogue.
The story is based on a Manga work by Yukito Kishiro, but the script by James Cameron, director Robert Rodriquez and Laeta Kalogridis has some bat-shit crazy moments.
Remembering that Cameron in Avatar brought us the mineral āunobtainiumā there are similar ājolt yourself awakeā moments here. At one point Waltz starts talking about what sounds like āPanda c***sāā¦. Iām sorryā¦ what?? (This was clearly an episode of David Attenboroughās āLife on Earthā that passed me by! Although frankly, if male pandas took a bit more interest in panda c***s, that wouldnāt necessarily be a bad thing. But I digressā¦.)
The turns.
What stands out if the quality of the cast. Who wouldnāt kill to have Waltz, Connolly and Ali starring in their film? The inclusion of Maherashala Ali in here was a surprise to me. I know he has had a part in āThe Hunger Gamesā series, but this is surely (Marvel must be kicking themselves) his most āmainstreamā film to date. And he again really shows his class, bringing a gravitas to all the scenes heās in.
It was also interesting to see Ed Skrein in a movie for the second time in a month. He was the racist cop in āIf Beale Street Could Talkā, and here he plays an equally unpleasant character with a sideline in vanity.
Also good fun is to see the cameo of who plays Nova in the final scene of the film. I was not expecting that.
But the film lives and dies on believing Alita, and after you get used to the rather spooky āuncanny valleyā eyes, Rosa Salazar really breathes life into the android character: you can really believe its a teenage android girl developing her understanding of the world and of love. (Weāll gloss over the age thing here which doesnāt make a lot of sense!). One thingās for sure, when Alita gives her heart to a boy, she really gives her heart to a boy!
Will I like it?
I was not expecting to, but did. Itās a big, brash, loud CGI-stuffed adventure, but well done and visually appealing (as you would expect given the director is Robert Rodriguez of āSin Cityā fame). The BBFC have given it a 12A rating in the UK, which feels appropriate: there are some pretty graphic scenes of violence (true they are āmostly involving robots fighting each otherā as the BBFC says, but not all). That would make it not very suitable for younger children.
But I was entertained. You might well be too.
The Plot.
Christophe Waltz plays Dr. Dyson (no, not that one), a cyber-surgeon in the 24th century whose job is to give cyber/human crossovers (which just about everyone now seems to be) a āserviceā to get them back on the road again.
Hanging over Iron City ā in just the same way as bricks donāt ā is a huge floating cloud city called Zalem (āWhat keeps it up?ā; āEngineering!ā). A stream of detritus falls from the city into the scrap yards below, and Dr Dyson scavenges through the mess for parts. He discovers that the best way to get ahead in business is toā¦ get a head! In this case, itās the head and upper torso of a female āteenageā cyber-girl who he finds to be still alive and who he names āAlitaā.
But Alita (Rosa Salazar) isnāt just any teenage girl. When fitted out with a new body, one very precious to Dyson, Alita proves to have massive strength and dexterity which sets her up to trial for the national sport of Motorball: a no-holds-barred race around an arena to capture and keep a ball. Her love interest, Hugo (Keean Johnson), can help her in that department.
But dark forces are also in play and the agents of Nova, the Zalem-overseer, have great interest in destroying Alita before she can damage his plans.
What a mess!
Iāve significantly simplified the plot and reduced the characters referenced. There are so many different things going on here, itās like theyāve made Back to the Future I, II and III and squeezed them all into one film. Thereās Dysonās ex-wife Chiran (Jennifer Connolly) and her partner in crime Vector (Maherashala Ali); thereās their pet thug called Grewishka (Jackie Earle Haley); thereās a bunch of āHunter-Warriorsā including a vicious sword-wielding guy called Zapan (Ed Skrein); thereās a kind of āLost Boysā vibe to Hugoās pals including Alita-hater Tanji (Jorge Lendeborg Jr.); etc. etc. etc. Itās a huge great sprawling mess of a plot.
The movie is also highly derivative, and watching it feels like you are working through a mental set of check-boxes of the films it apes: Wall-E (check); Elysium (check); Terminator (check); Rollerball (if youāre old enough to remember that one) (check); even some Harry Potter quidditch thrown in for good measure.
Urmā¦ berserk dialogue.
The story is based on a Manga work by Yukito Kishiro, but the script by James Cameron, director Robert Rodriquez and Laeta Kalogridis has some bat-shit crazy moments.
Remembering that Cameron in Avatar brought us the mineral āunobtainiumā there are similar ājolt yourself awakeā moments here. At one point Waltz starts talking about what sounds like āPanda c***sāā¦. Iām sorryā¦ what?? (This was clearly an episode of David Attenboroughās āLife on Earthā that passed me by! Although frankly, if male pandas took a bit more interest in panda c***s, that wouldnāt necessarily be a bad thing. But I digressā¦.)
The turns.
What stands out if the quality of the cast. Who wouldnāt kill to have Waltz, Connolly and Ali starring in their film? The inclusion of Maherashala Ali in here was a surprise to me. I know he has had a part in āThe Hunger Gamesā series, but this is surely (Marvel must be kicking themselves) his most āmainstreamā film to date. And he again really shows his class, bringing a gravitas to all the scenes heās in.
It was also interesting to see Ed Skrein in a movie for the second time in a month. He was the racist cop in āIf Beale Street Could Talkā, and here he plays an equally unpleasant character with a sideline in vanity.
Also good fun is to see the cameo of who plays Nova in the final scene of the film. I was not expecting that.
But the film lives and dies on believing Alita, and after you get used to the rather spooky āuncanny valleyā eyes, Rosa Salazar really breathes life into the android character: you can really believe its a teenage android girl developing her understanding of the world and of love. (Weāll gloss over the age thing here which doesnāt make a lot of sense!). One thingās for sure, when Alita gives her heart to a boy, she really gives her heart to a boy!
Will I like it?
I was not expecting to, but did. Itās a big, brash, loud CGI-stuffed adventure, but well done and visually appealing (as you would expect given the director is Robert Rodriguez of āSin Cityā fame). The BBFC have given it a 12A rating in the UK, which feels appropriate: there are some pretty graphic scenes of violence (true they are āmostly involving robots fighting each otherā as the BBFC says, but not all). That would make it not very suitable for younger children.
But I was entertained. You might well be too.
Mike Wilder (20 KP) rated Real Steel (2011) in Movies
May 30, 2018
This is a good film, not a great film but very good.
Contains spoilers, click to show
This film is the reason I decided to do my own movie reviews. After hearing a review for this film from BBC Radio 1's movie reviewer, I decided to start my own review page. She reviewed this film seeing nothing more than the robots. She totally missed out on the whole plot of the movie, and then her comment "the climax takes a long time to come and it happens right at the end" made me want to climb into the radio and tape her mouth shut. I know where I expect the climax of a film to be, and I know it is nowhere but at the end of the film. Yes this film has big giant robots in it, but the plot is way more than that, it is a story about redemption and doing the right thing no matter how hard the journey. I got that much from just seeing the trailer, she saw the whole thing and missed the whole point.
OK rant over.
This is a good film, not a great film but very good. Hugh Jackman is good in this but to be fair he is good in most things. He gets to show off a bigger range of his acting skills than he has in the X-Men films. He plays Charlie Kenton, a former boxer now heavily in debt due to pushing his fighting robots too hard and expecting more than they can give, like fighting a 300lb bull! This also stars Evangeline Lilly in I believe her first role since the series Lost ended. She is also very good in this. However, the star of the film is Dakota Goya as Max Kenton. He shines as the child thrown together with the father he doesn't know. He enters the world of robot fighting with his father and manages to rescue a robot from a scrap pile. He then convinces his father to enter the robot in the fights. You really get to experience the wonder of the Robots through him. The other star is the robot he rescues, Atom. Although not sentient, the director manages to bring him to life with good camera angles and subtle sounds. You really start to feel for the robot and you manage to forget the fights aren't real. The other very clever part of the film is the setting. It is set in the near future, but the only really futuristic thing is the robots. There are no fancy cars or clothes and this enables you to connect with the film easier.
The climax of the film (at the end!), is a big showdown with the undefeated champion. Instead of just two robots bashing each other, you get Atom, the underdog, controlled by Max, and helped by his father. You see and feel each blow the robot takes and through the acting skills of Dakota Goya, you forget it's a machine and you can't help but cheer him on.
This could have been an average film, but the fine performances by the cast and the skill of the director in bringing Atom to life with just the use of camera shots and clever subtle sounds turns this film in to a joy to watch as you take the journey with father, son and giant robot.
OK rant over.
This is a good film, not a great film but very good. Hugh Jackman is good in this but to be fair he is good in most things. He gets to show off a bigger range of his acting skills than he has in the X-Men films. He plays Charlie Kenton, a former boxer now heavily in debt due to pushing his fighting robots too hard and expecting more than they can give, like fighting a 300lb bull! This also stars Evangeline Lilly in I believe her first role since the series Lost ended. She is also very good in this. However, the star of the film is Dakota Goya as Max Kenton. He shines as the child thrown together with the father he doesn't know. He enters the world of robot fighting with his father and manages to rescue a robot from a scrap pile. He then convinces his father to enter the robot in the fights. You really get to experience the wonder of the Robots through him. The other star is the robot he rescues, Atom. Although not sentient, the director manages to bring him to life with good camera angles and subtle sounds. You really start to feel for the robot and you manage to forget the fights aren't real. The other very clever part of the film is the setting. It is set in the near future, but the only really futuristic thing is the robots. There are no fancy cars or clothes and this enables you to connect with the film easier.
The climax of the film (at the end!), is a big showdown with the undefeated champion. Instead of just two robots bashing each other, you get Atom, the underdog, controlled by Max, and helped by his father. You see and feel each blow the robot takes and through the acting skills of Dakota Goya, you forget it's a machine and you can't help but cheer him on.
This could have been an average film, but the fine performances by the cast and the skill of the director in bringing Atom to life with just the use of camera shots and clever subtle sounds turns this film in to a joy to watch as you take the journey with father, son and giant robot.
Phillip McSween (751 KP) rated Burlesque (2010) in Movies
Feb 17, 2019
Could Have Been Better
When Ali (Christina Aguilera) moves to LA to make it big, she decides to settle for working in a burlesque house instead. Oh my God, here we goā¦
Acting: 7
Beginning: 8
Characters: 10
Cinematography/Visuals: 2
I guess this is as good a place to start as any. While there were some decent shots within the burlesque club itself, the film pretty much centers around this one location so thereās not a whole lot of room for expansion. Your eyes are supposed to be set on stage which would work if this were a play. I also thought they failed in capturing the sensuality of the burlesque genre. It felt extremely flat to say the least and I almost wish they had changed the title of the film to something else more relevant like, I donāt know, Pretty People Lip-Syncing? Huge fail here.
Conflict: 1
Much ado about nothing here as get a feel for exactly where the story is heading the entire time. The obstacles Ali experienced seemed staged, never natural, as if they were putting something in her way for the sake of it continuing the awful story. In the end, the film could never decide on where it wanted to create the conflict. Whether it was the club closing, someone wanting to take over the club, an awkward relationship triangle, or trouble on the big stage, Burlesque was all over the damn place.
Genre: 6
Memorability: 6
Pace: 4
Plot: 6
If Iām being honest, Aliās drive was the only thing that kept me motivated to watch the movie the rest of the way. Her story is touching and, despite the Hallmark feel of it all, you want her to succeed. Other than that, I really couldnāt make heads or tails of much else. This movie is like a tree with crazy branches sprouting off into a bunch of different directionsā¦but never really going anywhere important.
Resolution: 6
Overall: 56
Burlesque is the first film attacked in a podcast called āHow Did This Get Made?ā, a show that takes awful movies and rips them apart in deserved fashion. I started the movie thinking to myself, āWell, this isnāt so badā¦ā which became āOk, whatās going on here?ā which finally became, āDear God, this needs to end!ā Steer clear. You have been warned.
Acting: 7
Beginning: 8
Characters: 10
Cinematography/Visuals: 2
I guess this is as good a place to start as any. While there were some decent shots within the burlesque club itself, the film pretty much centers around this one location so thereās not a whole lot of room for expansion. Your eyes are supposed to be set on stage which would work if this were a play. I also thought they failed in capturing the sensuality of the burlesque genre. It felt extremely flat to say the least and I almost wish they had changed the title of the film to something else more relevant like, I donāt know, Pretty People Lip-Syncing? Huge fail here.
Conflict: 1
Much ado about nothing here as get a feel for exactly where the story is heading the entire time. The obstacles Ali experienced seemed staged, never natural, as if they were putting something in her way for the sake of it continuing the awful story. In the end, the film could never decide on where it wanted to create the conflict. Whether it was the club closing, someone wanting to take over the club, an awkward relationship triangle, or trouble on the big stage, Burlesque was all over the damn place.
Genre: 6
Memorability: 6
Pace: 4
Plot: 6
If Iām being honest, Aliās drive was the only thing that kept me motivated to watch the movie the rest of the way. Her story is touching and, despite the Hallmark feel of it all, you want her to succeed. Other than that, I really couldnāt make heads or tails of much else. This movie is like a tree with crazy branches sprouting off into a bunch of different directionsā¦but never really going anywhere important.
Resolution: 6
Overall: 56
Burlesque is the first film attacked in a podcast called āHow Did This Get Made?ā, a show that takes awful movies and rips them apart in deserved fashion. I started the movie thinking to myself, āWell, this isnāt so badā¦ā which became āOk, whatās going on here?ā which finally became, āDear God, this needs to end!ā Steer clear. You have been warned.
Kirk Bage (1775 KP) rated Jumanji: Welcome to the Jungle (2017) in Movies
Jan 22, 2021
Iāve said it before and Iāll say it again, I do not know what The Rock is for? Heās certainly not for me! Iām sure he is a lovely man in real life, but howā¦? Whyā¦? is he a movie star? It baffles me. Look, there is some fun to be had with this remake, and the themes it raises are actually reasonably smart and relevant to the world of teenagers in 2020, but it is just so second rate and lazy in so many ways. I am also not a fan of Kevin Hartās schtick. I mean, he has made me laugh maybe twice in everything Iāve ever seen him do in the last ten years. Irritating sums it up better for me. Jack Black isnāt a whole lot better; his best films are good despite him, not because of him, in the main, and when he is bad he is very very poor indeed. That leaves Karen Gillan, and yes, she saves the show here, leaving the boys look awkward, forced and quite a bit dated.
Itās basically a body swap movie, a tried and tested recipe for Japes and easy gags in a kids movie. And as so it shamelessly borrows, adapts and full on steals every previous joke, observation and trick used in every body swap film ever made. Does it do anything new? Or better? Not as far as I could see. But, then again, I am no longer ten years old, and that is very much where this is pitched. Except it annoyed me most in the patronising choices it made for the ten year old of 2020 ā are they all really that dumb? Because I remember the original Jumanji managing to be fun and intelligent at the same time. Itās very possible I have it wrong because itās me that is getting further away from what kids identify with and enjoy these days, however.
Basically, I allowed it to wash over me whilst pining for the screen presence, comedic skill and empathy of Robin Williams. Therefore I was bound to hate it. Maybe one day Iāll see it in a better mood and accept that it is perfectly fine family fare. I have certainly witnessed worse over the years ā at least the sense of adventure is mostly there, the production design is competent and it is ultimately harmless. Itās just not my bag.
Itās basically a body swap movie, a tried and tested recipe for Japes and easy gags in a kids movie. And as so it shamelessly borrows, adapts and full on steals every previous joke, observation and trick used in every body swap film ever made. Does it do anything new? Or better? Not as far as I could see. But, then again, I am no longer ten years old, and that is very much where this is pitched. Except it annoyed me most in the patronising choices it made for the ten year old of 2020 ā are they all really that dumb? Because I remember the original Jumanji managing to be fun and intelligent at the same time. Itās very possible I have it wrong because itās me that is getting further away from what kids identify with and enjoy these days, however.
Basically, I allowed it to wash over me whilst pining for the screen presence, comedic skill and empathy of Robin Williams. Therefore I was bound to hate it. Maybe one day Iāll see it in a better mood and accept that it is perfectly fine family fare. I have certainly witnessed worse over the years ā at least the sense of adventure is mostly there, the production design is competent and it is ultimately harmless. Itās just not my bag.