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Neon's Nerd Nexus (360 KP) rated Bad Boys for Life (2020) in Movies
Jan 18, 2020 (Updated Jan 18, 2020)
Fly Together Die Together
Bad Boys For Life doesnt suck. That sentence alone could be the review many of you were hoping for right there but its actually true and as a matter of fact I think this is also my favourite out of the 3 movies. A decision was made to pass this movie over to a diffrent director (watch out for a brilliant cameo almost giving blessing this) and while personally I love Micheal Bays explosive syle of directing every now and then for the franchise this was a great move. For Life is not only a tighter more mature outing but it also shows the franchise has evolved, learnt and adapted with the times something most sequels fail to acomplish. Ill start with the action this time it certainly feels tighter, better shot and grittier going for more of a John Wick approach which without a doubt leads to some very impressive visual flare, lovely cinematography, great choreograph and some fabulously unique and stylish camera angles too. Theres no quick cuts either (thank god) but there is however one scene that had green screen so bad I wondered why its inclusion was necessary at all. Its uber violent too with some scenes being shockingly grizzly to watch but these combine with villians which feel so evil/methodical really adds a lot of urgency, fear, threat and tension to the story making the film feel way more adult the previous outings. Story wise things are layed out nicely too however it does take a strange turn in the third act which I feel doesnt quite work or fit a character we know and love. Chemistry between Will Smith and Martin Lawrence is as flawless as ever and while the jokes may not be laugh out loud funny watching them bicker/fight is still so entertaining and Infact theres actually some really great acting too from both the Bad Boys too. As we are introduced to new members of the team we also see how times have changed, how roles have been reversed and how a gung-ho approach to situations just isnt viable anymore as it causes to much collateral damage and ends in to many casualties. Seeing Marcus and Mike forced to change thier approach, grow up and realise they are getting old works really well and helps keep the film feeling unpredictable too. While not groundbreaking I had a bloody good time with Bad Boys 3 and feel with this new aproach Id be happy to see the franchise continue on for a bit longer. Its a fast, violent, stylish, thrilling, funny and above all a highly enjoyable 'one last ride'.
5 Minute Movie Guy (379 KP) rated A Million Ways to Die in the West (2014) in Movies
Jun 26, 2019
Neil Patrick Harris is delightfully devious. (1 more)
MacFarlane shows he has potential in his on-screen acting debut.
The humor is at times very vulgar and immature. (2 more)
The film is slow-paced and overly long.
"A Dozen Ways to Die in the West" would have been a more appropriate title.
A Million Ways to Die in the West is good for a few laughs but it feels like it goes on unreasonably long. Still, if you're a fan of MacFarlane's other works, you'll most likely enjoy his parody of the Old West.
Following the success of his directorial debut, Ted, Seth MacFarlane steps in front of the movie camera for the first time in his new film, A Million Ways to Die in the West. MacFarlane is best known as the creator of the popular animated television series, Family Guy, and he was also the host of the Oscars just two years ago. Now he’s taking the starring role in a film he wrote and directed himself. Here MacFarlane plays a cowardly sheep farmer named Albert who is miserably living in the dangerous Old West. Or rather, the not-so-dangerous Old West. Despite what the title suggests, there’s not a whole lot of dying going on in A Million Ways to Die in the West. You won’t find a whole lot of substance either, but there are a fair amount of laughs if you’re able to tolerate the crude toilet humor and dirty jokes. All in all, MacFarlane does a decent job in this comedy, but his jokes stick too close to his own conventions, and much like life on the frontier, the film can be kind of a drag.
If you’ve ever seen Family Guy, you should feel right at home with the humor in this film. It’s crass, edgy, violent, and full of pop culture references. Although, given that this is an R-rated movie, MacFarlane’s able to push the limits further than usual, and he makes sure to do that by including a lot of raunchy humor and toilet-gags. Oh, and in case you were wondering, yes, male genitals are still the hottest thing in comedy right now. As you’ve no doubt deduced, this is certainly not a film you’d want to take your kids to see. Nor is it for the easily-offended. Though in the film’s defense, it’s not entirely tasteless, and its use of vulgarity isn’t overly frequent. There’s plenty of great slapstick physical comedy and some pretty hilarious dialogue. I laughed more than I thought I would, and was never so disgusted that I wanted to walk out. It’s an entertaining film, it just happens to run a little long and lose momentum down the stretch. Plus the main premise of the film is never all that compelling to begin with.
In A Million Ways to Die in the West, MacFarlane’s character Albert is a man entirely self-aware of the time and place he’s living in, as well as the many dangers that come with it. He sheepishly lives his life, terrified by the threat of death that lurks around every corner. When his beloved girlfriend leaves him for a man with a mighty mustache, Albert has to cowboy up to prove his machismo and try to win her back. Luckily for him, he meets a gun-toting woman named Anna who’s happy to help him face his fears and show him the ropes of being a cowboy. Unfortunately however, this new friendship ends up putting Albert right into the crosshairs of Clinch Leatherwood, the deadliest outlaw around.
While MacFarlane does a respectable job in his first foray into acting, his character feels rather uninspired. I couldn’t help but see him as a hodgepodge of various Family Guy characters, having the clumsiness of Peter Griffin, the self-consciousness of Chris Griffin, and the intelligence and charm of Brian. Given that he created that show, perhaps that should be expected, but it just felt like Albert was lacking a unique and consistent identity. He’s a character who can be charming and funny, but he also comes off seeming like a jerk. All in all, the film has a good cast of actors, with Neil Patrick Harris being the stand-out of the bunch. He plays the pompous, mustached snob, Foy, who steals the heart of Albert’s girlfriend, Louise. Giovanni Ribisi and Sarah Silverman are likable as the flawed, clueless couple who serve as Albert’s close friends, Edward and Ruth. Although their characters stay pretty comfortably within the realm of what you would expect from their respective actors, with Edward being the naïve nice guy, while Silverman’s Ruth is the seemingly-sweet-and-innocent, foul-mouthed hussy. Charlize Theron does a fine job as Albert’s mentor, Anna. She has a strong presence in the film and is fun to watch, but despite her best efforts, the emotional element she brings to the story ends up feeling forced and unconvincing. Though that’s no fault of her own. It’s just hard to imagine her, or anyone, falling head over heels so easily and suddenly for a guy like Albert. Then, of course, there’s Liam Neeson, who is effective in his performance as the intimidating villain, Clinch, but would have benefitted from more screen-time.
A Million Ways to Die in the West proficiently parodies the western film genre, capturing the right atmosphere for the setting and time period. Visually it’s a pleasant film to look at, with good camera-work, well-created sets, and lots of beautiful scenery. This makes it all the more disappointing then that the filmmakers decided to place a visual filter over the entirety of the film to give it a more old-fashioned look. As a result, there is a constant flickering throughout the whole movie, and while not quite seizure-inducing, it certainly is distracting. At times you kind of get used to it and forget about it, but it really stands out in scenes with heavy lighting and most of the movie takes place in broad daylight. On the audio side of things, the music is appropriately fitting, but little of it is particularly noteworthy. There is a great song about mustaches, accompanied with a well-orchestrated dance number led by Neil Patrick Harris in what is undoubtedly one of the highlights of the film. Additionally the film’s theme song is appropriately fun. The visual effects in the movie, although limited, are done quite well and nicely add to the film’s comedic effect. Although I’m sure I speak for everyone when I say the movie could have done just fine without all of the animated urinating sheep.
I think the film’s greatest flaw is the fact that it’s doing too much as it tries to incorporate all of the main stereotypes of the western genre. It has duels, bar brawls, jailbreaks, horse chases, and even capture by Indians thrown in for good measure. In trying to cover all of the bases, the movie ends up running too long and becomes a little boring and tired. Rather than building up to a climax, the film diverges with some unnecessary scenes, and then concludes with a lackluster ending. It would have been cool to see Clinch and his group of bandits lay siege to the main town, which could have given the filmmakers an opportunity to create a wide variety of deaths, and allow Albert to exercise his newly developed skills before setting up to an ultimate final showdown. Maybe that would be adding to the long list of clichés, but at least it would have given this slow-paced film some much needed adrenaline and would have made it more true to its misleading title. There are also several cameo appearances in the film, and while a couple of them are great conceptually, I don’t think any of them are quite as satisfying as they should be. They end up feeling out of place, like last-second additions that have no purpose other than to acknowledge other films. I can appreciate the attempt but the cameos aren’t particularly funny and they just seems to emphasize how much better those other films are.
Seth MacFarlane’s A Million Ways to Die in the West is good for a few laughs, but just like his character Albert’s long-winded ramblings, it feels like it goes on unreasonably long. It’s still an entertaining film regardless, and if you’re a fan of MacFarlane’s other work, you’ll most likely enjoy his parody of the Old West. The movie has a talented cast, some truly great scenes such as a bar brawl and a memorable dance, as well as plenty of good old-fashioned slapstick, and witty dialogue. If you can handle the occasional gross-out gag, you’ll probably have a good time. Just don’t expect to actually see the many ways people can die In the Old West. The movie doesn’t show many deaths at all, and all the best ones you likely already saw in the trailer.
(This review was originally posted at 5mmg.com on 6.3.14.)
If you’ve ever seen Family Guy, you should feel right at home with the humor in this film. It’s crass, edgy, violent, and full of pop culture references. Although, given that this is an R-rated movie, MacFarlane’s able to push the limits further than usual, and he makes sure to do that by including a lot of raunchy humor and toilet-gags. Oh, and in case you were wondering, yes, male genitals are still the hottest thing in comedy right now. As you’ve no doubt deduced, this is certainly not a film you’d want to take your kids to see. Nor is it for the easily-offended. Though in the film’s defense, it’s not entirely tasteless, and its use of vulgarity isn’t overly frequent. There’s plenty of great slapstick physical comedy and some pretty hilarious dialogue. I laughed more than I thought I would, and was never so disgusted that I wanted to walk out. It’s an entertaining film, it just happens to run a little long and lose momentum down the stretch. Plus the main premise of the film is never all that compelling to begin with.
In A Million Ways to Die in the West, MacFarlane’s character Albert is a man entirely self-aware of the time and place he’s living in, as well as the many dangers that come with it. He sheepishly lives his life, terrified by the threat of death that lurks around every corner. When his beloved girlfriend leaves him for a man with a mighty mustache, Albert has to cowboy up to prove his machismo and try to win her back. Luckily for him, he meets a gun-toting woman named Anna who’s happy to help him face his fears and show him the ropes of being a cowboy. Unfortunately however, this new friendship ends up putting Albert right into the crosshairs of Clinch Leatherwood, the deadliest outlaw around.
While MacFarlane does a respectable job in his first foray into acting, his character feels rather uninspired. I couldn’t help but see him as a hodgepodge of various Family Guy characters, having the clumsiness of Peter Griffin, the self-consciousness of Chris Griffin, and the intelligence and charm of Brian. Given that he created that show, perhaps that should be expected, but it just felt like Albert was lacking a unique and consistent identity. He’s a character who can be charming and funny, but he also comes off seeming like a jerk. All in all, the film has a good cast of actors, with Neil Patrick Harris being the stand-out of the bunch. He plays the pompous, mustached snob, Foy, who steals the heart of Albert’s girlfriend, Louise. Giovanni Ribisi and Sarah Silverman are likable as the flawed, clueless couple who serve as Albert’s close friends, Edward and Ruth. Although their characters stay pretty comfortably within the realm of what you would expect from their respective actors, with Edward being the naïve nice guy, while Silverman’s Ruth is the seemingly-sweet-and-innocent, foul-mouthed hussy. Charlize Theron does a fine job as Albert’s mentor, Anna. She has a strong presence in the film and is fun to watch, but despite her best efforts, the emotional element she brings to the story ends up feeling forced and unconvincing. Though that’s no fault of her own. It’s just hard to imagine her, or anyone, falling head over heels so easily and suddenly for a guy like Albert. Then, of course, there’s Liam Neeson, who is effective in his performance as the intimidating villain, Clinch, but would have benefitted from more screen-time.
A Million Ways to Die in the West proficiently parodies the western film genre, capturing the right atmosphere for the setting and time period. Visually it’s a pleasant film to look at, with good camera-work, well-created sets, and lots of beautiful scenery. This makes it all the more disappointing then that the filmmakers decided to place a visual filter over the entirety of the film to give it a more old-fashioned look. As a result, there is a constant flickering throughout the whole movie, and while not quite seizure-inducing, it certainly is distracting. At times you kind of get used to it and forget about it, but it really stands out in scenes with heavy lighting and most of the movie takes place in broad daylight. On the audio side of things, the music is appropriately fitting, but little of it is particularly noteworthy. There is a great song about mustaches, accompanied with a well-orchestrated dance number led by Neil Patrick Harris in what is undoubtedly one of the highlights of the film. Additionally the film’s theme song is appropriately fun. The visual effects in the movie, although limited, are done quite well and nicely add to the film’s comedic effect. Although I’m sure I speak for everyone when I say the movie could have done just fine without all of the animated urinating sheep.
I think the film’s greatest flaw is the fact that it’s doing too much as it tries to incorporate all of the main stereotypes of the western genre. It has duels, bar brawls, jailbreaks, horse chases, and even capture by Indians thrown in for good measure. In trying to cover all of the bases, the movie ends up running too long and becomes a little boring and tired. Rather than building up to a climax, the film diverges with some unnecessary scenes, and then concludes with a lackluster ending. It would have been cool to see Clinch and his group of bandits lay siege to the main town, which could have given the filmmakers an opportunity to create a wide variety of deaths, and allow Albert to exercise his newly developed skills before setting up to an ultimate final showdown. Maybe that would be adding to the long list of clichés, but at least it would have given this slow-paced film some much needed adrenaline and would have made it more true to its misleading title. There are also several cameo appearances in the film, and while a couple of them are great conceptually, I don’t think any of them are quite as satisfying as they should be. They end up feeling out of place, like last-second additions that have no purpose other than to acknowledge other films. I can appreciate the attempt but the cameos aren’t particularly funny and they just seems to emphasize how much better those other films are.
Seth MacFarlane’s A Million Ways to Die in the West is good for a few laughs, but just like his character Albert’s long-winded ramblings, it feels like it goes on unreasonably long. It’s still an entertaining film regardless, and if you’re a fan of MacFarlane’s other work, you’ll most likely enjoy his parody of the Old West. The movie has a talented cast, some truly great scenes such as a bar brawl and a memorable dance, as well as plenty of good old-fashioned slapstick, and witty dialogue. If you can handle the occasional gross-out gag, you’ll probably have a good time. Just don’t expect to actually see the many ways people can die In the Old West. The movie doesn’t show many deaths at all, and all the best ones you likely already saw in the trailer.
(This review was originally posted at 5mmg.com on 6.3.14.)
Gareth von Kallenbach (980 KP) rated Chasing Mavericks (2012) in Movies
Aug 7, 2019
Can surfing teach you about life and how to live it? Can it drag you out of yourself enough to figure out just what it’s all about? That all depends on the surfer: Chasing Mavericks is based on the true story of Jay Moriarty (played by Jonny Weston), an accomplished surfer, and amazingly positive kid from Northern California. The story begins with a young Moriarty counting the time between wave breaks. He is with Kim, a staple in his life, and future wife. While saving her dog, he gets knocked into the water by a wave and is pushed down. He is saved by a surfer (Gerard Butler as Frosty) who just happened to be in the right place at the right time, and tells Jay that he has used up his allotment of dumb luck for life. Jay is bit, and finds an old surf board in his garage.
Skip ahead seven years and Jay is an accomplished surfer outperforming everybody on the water. He watches Frosty, who still lives across the street, and follows him early one morning. This is Jay’s introduction to Mavericks; a set of big waves that roll into the Northern Californian coast each winter. Waves can reach as high as 50 feet and surfers can reach speeds exceeding 50 miles per hour. Jay is instantly attracted to the challenge, and in his excitement gets caught by Frosty.
Somehow Jay convinces Frosty to train him how to ride Mavericks, and his tutelage in both surfing and life begin.
This was a great movie; it was beautifully shot, and shows how determination, skill, and a willingness to go beyond oneself can help achieve any goal. There aren’t any amazing surprises, but the story doesn’t need them; Jay is a great character and his struggle to become a part of something so much bigger than himself is worth watching. The soundtrack is also amazing! For anyone familiar with the music of the time; it will be love at first listen. This is one movie not to miss.
Skip ahead seven years and Jay is an accomplished surfer outperforming everybody on the water. He watches Frosty, who still lives across the street, and follows him early one morning. This is Jay’s introduction to Mavericks; a set of big waves that roll into the Northern Californian coast each winter. Waves can reach as high as 50 feet and surfers can reach speeds exceeding 50 miles per hour. Jay is instantly attracted to the challenge, and in his excitement gets caught by Frosty.
Somehow Jay convinces Frosty to train him how to ride Mavericks, and his tutelage in both surfing and life begin.
This was a great movie; it was beautifully shot, and shows how determination, skill, and a willingness to go beyond oneself can help achieve any goal. There aren’t any amazing surprises, but the story doesn’t need them; Jay is a great character and his struggle to become a part of something so much bigger than himself is worth watching. The soundtrack is also amazing! For anyone familiar with the music of the time; it will be love at first listen. This is one movie not to miss.
Gareth von Kallenbach (980 KP) rated Mr. Popper's Penguins (2011) in Movies
Aug 7, 2019
A loosely based modern retelling of the beloved 1939 classic book by Florence and Richard Atwater, Mr. Popper Penguin’s tells the story of Tom Popper (Jim Carrey) a successful New York real estate developer, who is focused on becoming a partner in his company.
One day Tom finds out his father has passed away and left him a gift. To his surprise he inherits six penguins (Captain, Loudy, Bitey, Stinky, Lovey and Nimrod) from his father. With a serious case of resentment towards his father’s absent role in his life and the hindrance it puts on his lifestyle and work.
Mr. Popper tries every avenue he possibly can to get rid of the penguins. Once the flock is introduced to his children, he realizes he has no choice but to keep them. As the movie progresses on, we see Mr. Popper bonding with the penguins, teaching them how dance, going to the potty and also learning from them how to be a better person. He realizes that there are more important things in life than work, money and power. He begins spending more time with his children and tries to rekindle his relationship with his ex wife, Amanda (Carla Gugino) and less time focused on work.
I tend to see a common thread in some of Jim Carrey’s characters; he plays a guy who neglects the people he loves because of his work, for example, Liar Liar and Bruce Almighty. In this movie, Carrey is back with his usual physical slapstick comedy, however Mr. Popper’s Penguins is definitely a toned down version of Carrey’s ever so hilarious Ace Ventura: Pet Detective role. You can’t help but laugh at the shenanigans and charm of these amazing penguins as well as Jim Carrey’s ability to find the humor in the most uncomfortable situations. If you can get past Mr. Popper’s assistant Pippi (Ophelia Lovibond) and her positively unpleasant practice of perpetually trying to use words that start with the letter P, there are some great laugh out loud moments the whole family will love.
One day Tom finds out his father has passed away and left him a gift. To his surprise he inherits six penguins (Captain, Loudy, Bitey, Stinky, Lovey and Nimrod) from his father. With a serious case of resentment towards his father’s absent role in his life and the hindrance it puts on his lifestyle and work.
Mr. Popper tries every avenue he possibly can to get rid of the penguins. Once the flock is introduced to his children, he realizes he has no choice but to keep them. As the movie progresses on, we see Mr. Popper bonding with the penguins, teaching them how dance, going to the potty and also learning from them how to be a better person. He realizes that there are more important things in life than work, money and power. He begins spending more time with his children and tries to rekindle his relationship with his ex wife, Amanda (Carla Gugino) and less time focused on work.
I tend to see a common thread in some of Jim Carrey’s characters; he plays a guy who neglects the people he loves because of his work, for example, Liar Liar and Bruce Almighty. In this movie, Carrey is back with his usual physical slapstick comedy, however Mr. Popper’s Penguins is definitely a toned down version of Carrey’s ever so hilarious Ace Ventura: Pet Detective role. You can’t help but laugh at the shenanigans and charm of these amazing penguins as well as Jim Carrey’s ability to find the humor in the most uncomfortable situations. If you can get past Mr. Popper’s assistant Pippi (Ophelia Lovibond) and her positively unpleasant practice of perpetually trying to use words that start with the letter P, there are some great laugh out loud moments the whole family will love.
LeftSideCut (3776 KP) rated Captain America: The Winter Soldier (2014) in Movies
Oct 15, 2020
This first sequel to Captain America: The First Avenger is everything a sequel should be. It has bigger and better set pieces, it has a bigger emotional centre, it brings in already established MCU characters and introduces new ones, and is arguably one of the best entries into the MCU to date.
Chris Evans does nothing more than tighten his grip around his most famous role. He joins Robert Downey Jr. in the category of irreplaceable actors for these characters.
Scarlett Johansson is once again great as Black Widow, and newcomer Anthony Mackie as Sam Wilson/Falcon provides Cap with a likeable new ally. The three of them as a sort of mini Avengers in this movie are fantastic.
Sebastian Stan plays The Winter Soldier with aplomb, and gives us a truly dangerous antagonist. The dude is fucking terrifying, yet his relationship with Steve Rogers gives us the heart of this movie. It's a tragic story which of course will be further explored in Civil War further down the line.
The cast is rounded off with Samuel L. Jackson returning as Nick Fury, Robert Redford as Alexander Pierce, Emily VanCamp as Agent 13, Frank Grillo as Brock Rumlow, and some smaller roles for Cobie Smulders and Hayley Atwell.
It's a really solid cast all in all, an area that Marvel Studios rarely missteps.
The set pieces are hugely high octane and thrilling. The opening scene on the barge is a highlight, as well as the teams fight with the Winter Soldier midway through. Even Nick Fury gets a banger of an action sequence. Also, this film boasts probably the biggest plot twist gut punch in the whole MCU with the SHIELD/Hydra reveal. It's an extremely well crafted, ballsy narrative that impacts the shape of the MCU going forward.
There's honestly nothing bad to say about this one. It's top tier comic book cinema.
Chris Evans does nothing more than tighten his grip around his most famous role. He joins Robert Downey Jr. in the category of irreplaceable actors for these characters.
Scarlett Johansson is once again great as Black Widow, and newcomer Anthony Mackie as Sam Wilson/Falcon provides Cap with a likeable new ally. The three of them as a sort of mini Avengers in this movie are fantastic.
Sebastian Stan plays The Winter Soldier with aplomb, and gives us a truly dangerous antagonist. The dude is fucking terrifying, yet his relationship with Steve Rogers gives us the heart of this movie. It's a tragic story which of course will be further explored in Civil War further down the line.
The cast is rounded off with Samuel L. Jackson returning as Nick Fury, Robert Redford as Alexander Pierce, Emily VanCamp as Agent 13, Frank Grillo as Brock Rumlow, and some smaller roles for Cobie Smulders and Hayley Atwell.
It's a really solid cast all in all, an area that Marvel Studios rarely missteps.
The set pieces are hugely high octane and thrilling. The opening scene on the barge is a highlight, as well as the teams fight with the Winter Soldier midway through. Even Nick Fury gets a banger of an action sequence. Also, this film boasts probably the biggest plot twist gut punch in the whole MCU with the SHIELD/Hydra reveal. It's an extremely well crafted, ballsy narrative that impacts the shape of the MCU going forward.
There's honestly nothing bad to say about this one. It's top tier comic book cinema.
Phillip McSween (751 KP) rated Hercules (1997) in Movies
Sep 5, 2020
Great Combo of Action and Hilarity
Disney’s animated retelling of the classic story of the Greek demi-god. The fun spin that was put on it just happens to make it my favorite. You can’t help but have a good time while watching Disney’s Hercules.
Acting: 10
Beginning: 10
Characters: 10
Cinematography/Visuals: 10
Hercules is beautiful from a visual standpoint. I love the contrast of bright colors against dark backgrounds. My favorite scene is when Hercules is battling the hydra in the rain while flying on his pegasus. It’s so grand in scale as he soars in and out of the dozens of heads. Oh, and I haven’t even touched on the beauty of Hades. It’s gorgeous even in its weird creepiness. So much attention to detail that it’s hard not to appreciate.
Conflict: 9
Entertainment Value: 9
From the opening scene where the awesome divas are singing the setup, I knew I was going to be watching something original and new. With a combo of action-packed sequences and a number of hilarious moments from a great cast, I was invested in the movie from beginning to end. It’s a damn good ride.
Memorability: 8
Pace: 10
Hercules moves extremely efficiently through its story which I find some stories hard to do when singing is involved. There is very little lingering if any as scenes get their point across and you’re off to the next thing. I respect films that can do that as I know a number of movies that overstay their welcome.
Plot: 8
Resolution: 8
Overall: 92
Not only does it have action and comedy, but there is also a love story in true Disney fashion within Hercules. And it all works. I do wish that they would have jumped into Hercules’ hero aspect a smidge earlier, but overall I think the movie is fantastic. Great job yet again by Disney.
Acting: 10
Beginning: 10
Characters: 10
Cinematography/Visuals: 10
Hercules is beautiful from a visual standpoint. I love the contrast of bright colors against dark backgrounds. My favorite scene is when Hercules is battling the hydra in the rain while flying on his pegasus. It’s so grand in scale as he soars in and out of the dozens of heads. Oh, and I haven’t even touched on the beauty of Hades. It’s gorgeous even in its weird creepiness. So much attention to detail that it’s hard not to appreciate.
Conflict: 9
Entertainment Value: 9
From the opening scene where the awesome divas are singing the setup, I knew I was going to be watching something original and new. With a combo of action-packed sequences and a number of hilarious moments from a great cast, I was invested in the movie from beginning to end. It’s a damn good ride.
Memorability: 8
Pace: 10
Hercules moves extremely efficiently through its story which I find some stories hard to do when singing is involved. There is very little lingering if any as scenes get their point across and you’re off to the next thing. I respect films that can do that as I know a number of movies that overstay their welcome.
Plot: 8
Resolution: 8
Overall: 92
Not only does it have action and comedy, but there is also a love story in true Disney fashion within Hercules. And it all works. I do wish that they would have jumped into Hercules’ hero aspect a smidge earlier, but overall I think the movie is fantastic. Great job yet again by Disney.
Goddess in the Stacks (553 KP) rated Mortal Engines (The Hungry City Chronicles, #1) in Books
Dec 25, 2018
Through this entire book, I kept thinking "this feels like Valerian and the City of a Thousand Planets." It's a completely different setting, and a different plot, but it had the same atmosphere. Rollicking action, fantastical premise, crazy setting, huge machines with entire worlds within them. I loved Valerian - it may not have been a critically great movie, and I don't think the leads had much chemistry, but the movie was just FUN. And that's how Mortal Engines is, too.
It's a crazy world, where cities have become mobile - think Howl's Moving Castle - and they chase each other across a barren world, devouring each other for resources in a social order they call Municipal Darwinism. Some cities, like London, are huge, with six main levels, not really counting the Gut, or the center of the machinery. Other towns are small, one or two levels crawling along trying to avoid the notice of the larger, faster cities. The peoples of the Traction Cities think people who live in statics (stationary cities, or, horror of horrors, right on the ground!) or people who are part of the Anti-Traction League, are crazy barbarians. And then there are the airship captains and crews, based out of the one floating city.
It is a crazy steampunk world, and Tom Natsworthy stumbles into a conspiracy plot by being in the wrong place at the wrong time. But as he travels with Hester across the wasteland, trying to survive their pursuers and avert catastrophe, he learns more about her, and more about how the world actually works.
I absolutely adore the last two sentences of the book, and I'm going to post those here because they aren't terribly spoilery. And they're fantastic.
"You aren't a hero, and I'm not beautiful, and we probably won't live happily ever after," she said. "But we're alive, and together, and we're going to be all right."
This book is the first of a quartet, and Reeve also wrote a prequel trilogy, so there's actually three books before AND after this book. I'll probably check my library for them, because I REALLY enjoyed this book.
You can find all my reviews at http://goddessinthestacks.com
It's a crazy world, where cities have become mobile - think Howl's Moving Castle - and they chase each other across a barren world, devouring each other for resources in a social order they call Municipal Darwinism. Some cities, like London, are huge, with six main levels, not really counting the Gut, or the center of the machinery. Other towns are small, one or two levels crawling along trying to avoid the notice of the larger, faster cities. The peoples of the Traction Cities think people who live in statics (stationary cities, or, horror of horrors, right on the ground!) or people who are part of the Anti-Traction League, are crazy barbarians. And then there are the airship captains and crews, based out of the one floating city.
It is a crazy steampunk world, and Tom Natsworthy stumbles into a conspiracy plot by being in the wrong place at the wrong time. But as he travels with Hester across the wasteland, trying to survive their pursuers and avert catastrophe, he learns more about her, and more about how the world actually works.
I absolutely adore the last two sentences of the book, and I'm going to post those here because they aren't terribly spoilery. And they're fantastic.
"You aren't a hero, and I'm not beautiful, and we probably won't live happily ever after," she said. "But we're alive, and together, and we're going to be all right."
This book is the first of a quartet, and Reeve also wrote a prequel trilogy, so there's actually three books before AND after this book. I'll probably check my library for them, because I REALLY enjoyed this book.
You can find all my reviews at http://goddessinthestacks.com
Dave Eggers recommended The Landlord (1970) in Movies (curated)
Bob Mann (459 KP) rated The Light Between Oceans (2016) in Movies
Sep 29, 2021
“You only have to forgive once. To resent, you have to do it all day, every day”.
In my review of “The Two Faces of January” I described it as a film that “will be particularly enjoyed by older viewers who remember when story and location were put far ahead of CGI-based special effects”. In watching this film I was again linking in my mind to that earlier film… and that was before the lead character suddenly brought up the two faces of Janus!
For this is a good old-fashioned weepy melodrama: leisurely, character based and guaranteed to give the tear ducts a good old cleaning out.
It’s 1918 and Michael Fassbender plays Tom Sherbourne, a damaged man seeking solitude and reflection after four years of hell in the trenches. As a short-term job he takes the post of lighthouse keeper on the isolated slab of rock called Janus – sat between two oceans (presumably as this is Western Australia, the Indian and the Southern Oceans). The isolation of the job previously sent his predecessor off his trolley.
En route to his workplace he is immediately attracted to headmaster’s daughter Isabel (Alicia Vikander) who practically THROWS herself at Tom (the hussy), given that they only have snatches of a day at a time to be together during shore leave. Tom falls for her (as a hot blooded man, and with Vikander’s performance, this is entirely believable!) and the two marry to retire to their ‘fortress of solitude’ together to raise a family and live happily ever after…. or not… For the path of true motherhood runs not smoothly for poor Isabel, and a baby in a drifting boat spells both joy and despair for the couple as the story unwinds.
(I’ll stop my synopsis there, since I think the trailer – and other reviews I’ve read – give too much away).
While Fassbender again demonstrates what a mesmerising actor he is, the acting kudos in this one really goes again to Vikander, who pulls out all the stops in a role that demands fragility, naivety, resentment, anger and despair across its course. While I don’t think the film in general will trouble the Oscars, this is a leading actress performance that I could well see nominated. In a supporting role, with less screen-time, is Rachel Weisz who again needs to demonstrate her acting stripes in a demanding role. (Also a shout-out to young Florence Clery who is wonderfully naturalistic as the 4 year old Lucy-Grace.)
So this is a film with a stellar class, but it doesn’t really all gel together satisfyingly into a stellar – or at least particularly memorable – movie. After a slow start, director Derek Cianfrance (“The Place Beyond the Pines”) ladles on the melodrama interminably, and over a two hour running time the word overwrought comes to mind.
The script (also by Cianfrance, from the novel by M.L.Stedman) could have been tightened up, particularly in the first reel, and the audience given a bit more time to reflect and absorb in the second half.
The film is also curiously ‘place-less’. I assumed this was somewhere off Ireland until someone suddenly starting singing “Waltzing Matilda” (badly) and random people started talking in Aussie accents: most strange.
Cinematography by Adam Arkapaw (“Macbeth”) is also frustratingly inconsistent. The landscapes of the island, steam trains, sunsets and the multiple boatings in between is just beautiful (assisted by a delicate score by the great Alexandre Desplat which is well used) but get close up (and the camera does often get VERY close up) and a lack of ‘steadicam’ becomes infuriating, with faces dancing about the screen and – in one particular scene early on – wandering off on either side with the camera apparently unsure which one to follow!
A memorable cinema experience only for Vikander’s outstanding performance. Now where are those tissues…
For this is a good old-fashioned weepy melodrama: leisurely, character based and guaranteed to give the tear ducts a good old cleaning out.
It’s 1918 and Michael Fassbender plays Tom Sherbourne, a damaged man seeking solitude and reflection after four years of hell in the trenches. As a short-term job he takes the post of lighthouse keeper on the isolated slab of rock called Janus – sat between two oceans (presumably as this is Western Australia, the Indian and the Southern Oceans). The isolation of the job previously sent his predecessor off his trolley.
En route to his workplace he is immediately attracted to headmaster’s daughter Isabel (Alicia Vikander) who practically THROWS herself at Tom (the hussy), given that they only have snatches of a day at a time to be together during shore leave. Tom falls for her (as a hot blooded man, and with Vikander’s performance, this is entirely believable!) and the two marry to retire to their ‘fortress of solitude’ together to raise a family and live happily ever after…. or not… For the path of true motherhood runs not smoothly for poor Isabel, and a baby in a drifting boat spells both joy and despair for the couple as the story unwinds.
(I’ll stop my synopsis there, since I think the trailer – and other reviews I’ve read – give too much away).
While Fassbender again demonstrates what a mesmerising actor he is, the acting kudos in this one really goes again to Vikander, who pulls out all the stops in a role that demands fragility, naivety, resentment, anger and despair across its course. While I don’t think the film in general will trouble the Oscars, this is a leading actress performance that I could well see nominated. In a supporting role, with less screen-time, is Rachel Weisz who again needs to demonstrate her acting stripes in a demanding role. (Also a shout-out to young Florence Clery who is wonderfully naturalistic as the 4 year old Lucy-Grace.)
So this is a film with a stellar class, but it doesn’t really all gel together satisfyingly into a stellar – or at least particularly memorable – movie. After a slow start, director Derek Cianfrance (“The Place Beyond the Pines”) ladles on the melodrama interminably, and over a two hour running time the word overwrought comes to mind.
The script (also by Cianfrance, from the novel by M.L.Stedman) could have been tightened up, particularly in the first reel, and the audience given a bit more time to reflect and absorb in the second half.
The film is also curiously ‘place-less’. I assumed this was somewhere off Ireland until someone suddenly starting singing “Waltzing Matilda” (badly) and random people started talking in Aussie accents: most strange.
Cinematography by Adam Arkapaw (“Macbeth”) is also frustratingly inconsistent. The landscapes of the island, steam trains, sunsets and the multiple boatings in between is just beautiful (assisted by a delicate score by the great Alexandre Desplat which is well used) but get close up (and the camera does often get VERY close up) and a lack of ‘steadicam’ becomes infuriating, with faces dancing about the screen and – in one particular scene early on – wandering off on either side with the camera apparently unsure which one to follow!
A memorable cinema experience only for Vikander’s outstanding performance. Now where are those tissues…
Matthew Krueger (10051 KP) rated Drag Me to Hell (2009) in Movies
Oct 28, 2020
Sam Raimi (1 more)
Alison Lohman
PG-13 (1 more)
Justin Long
Old Lady Curse
Drag me to Hell- is a anethor movie that ive wanted to see for couple years now and it was not disappointed. Its gory, horrorfying, terrorfying, scary, gory and overall a excellent movie.
The plot: Christine Brown (Alison Lohman) has a loving boyfriend (Justin Long) and a great job at a Los Angeles bank. But her heavenly life becomes hellish when, in an effort to impress her boss, she denies an old woman's request for an extension on her home loan. In retaliation, the crone places a curse on Christine, threatening her soul with eternal damnation. Christine seeks a psychic's help to break the curse, but the price to save her soul may be more than she can pay.
Raimi wrote Drag Me to Hell with his brother, Ivan, before working on the Spider-Man trilogy.
The original story for Drag Me to Hell was written ten years before the film went into production and was written by Sam Raimi and his brother Ivan Raimi. The film went into production under the name The Curse. The Raimis wrote the script as a morality tale, desiring to write a story about a character who wants to be a good person, but makes a sinful choice out of greed for her own betterment and pays the price for it. The Raimis tried to make the character of Christine the main focal point in the film, and tried to have Christine in almost all the scenes in the film.
The most significant parallel is that both stories involve the passing of a cursed object, which has to be passed to someone else, or its possessor will be devoured by one or more demons. Unlike his past horror films, Raimi wanted the film to be rated PG-13 and not strictly driven by gore, stating, "I didn't want to do exactly the same thing I had done before."
After finishing the script, Raimi desired to make the picture after the first draft of the script was completed, but other projects such as the Spider-Man film series became a nearly decade-long endeavor, pushing opportunities to continue work on Drag Me to Hell to late 2007. Raimi offered director Edgar Wright to direct Drag Me to Hell which Wright turned down as he was filming Hot Fuzz and felt that "If I did it, it would just feel like karaoke." After the previous three Spider-Man films, Raimi came back to the script of Drag Me to Hell, wanting to make a simpler and lower-budget film.
Raimi said he set out to create “a horror film with lots of wild moments and lots of suspense and big shocks that’ll hopefully make audiences jump. But I also wanted to have a lot of dark humor sprinkled throughout. I spent the last decade doing Spider-Man and you come to rely on a lot of people doing things for you and a lot of help, but it’s refreshing and wonderful to be reminded that, as with most filmmakers, the best way to do it is yourself, with a tight team doing the main jobs."
Its a excellent movie.
The plot: Christine Brown (Alison Lohman) has a loving boyfriend (Justin Long) and a great job at a Los Angeles bank. But her heavenly life becomes hellish when, in an effort to impress her boss, she denies an old woman's request for an extension on her home loan. In retaliation, the crone places a curse on Christine, threatening her soul with eternal damnation. Christine seeks a psychic's help to break the curse, but the price to save her soul may be more than she can pay.
Raimi wrote Drag Me to Hell with his brother, Ivan, before working on the Spider-Man trilogy.
The original story for Drag Me to Hell was written ten years before the film went into production and was written by Sam Raimi and his brother Ivan Raimi. The film went into production under the name The Curse. The Raimis wrote the script as a morality tale, desiring to write a story about a character who wants to be a good person, but makes a sinful choice out of greed for her own betterment and pays the price for it. The Raimis tried to make the character of Christine the main focal point in the film, and tried to have Christine in almost all the scenes in the film.
The most significant parallel is that both stories involve the passing of a cursed object, which has to be passed to someone else, or its possessor will be devoured by one or more demons. Unlike his past horror films, Raimi wanted the film to be rated PG-13 and not strictly driven by gore, stating, "I didn't want to do exactly the same thing I had done before."
After finishing the script, Raimi desired to make the picture after the first draft of the script was completed, but other projects such as the Spider-Man film series became a nearly decade-long endeavor, pushing opportunities to continue work on Drag Me to Hell to late 2007. Raimi offered director Edgar Wright to direct Drag Me to Hell which Wright turned down as he was filming Hot Fuzz and felt that "If I did it, it would just feel like karaoke." After the previous three Spider-Man films, Raimi came back to the script of Drag Me to Hell, wanting to make a simpler and lower-budget film.
Raimi said he set out to create “a horror film with lots of wild moments and lots of suspense and big shocks that’ll hopefully make audiences jump. But I also wanted to have a lot of dark humor sprinkled throughout. I spent the last decade doing Spider-Man and you come to rely on a lot of people doing things for you and a lot of help, but it’s refreshing and wonderful to be reminded that, as with most filmmakers, the best way to do it is yourself, with a tight team doing the main jobs."
Its a excellent movie.