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2017 has been an extraordinary year for women as they’ve come together in an unprecedented show of...
BankofMarquis (1832 KP) rated The Pale Blue Eye (2022) in Movies
Jan 15, 2023
Haunting and Intriguing
An eerie, gothic murder mystery pairing an ingenious Detective with a young Edgar Allan Poe is now streaming on Netflix and is the perfect way to shut out the January winds and hibernate on your couch and get involved in the mystery while sitting in front of a warm, roaring fire (or heat lamp) and your favorite warm (possibly adult) beverage).
Written for the screen (from book by Louis Bayard) and Directed by Scott Cooper (OUT OF THE FURNACE), THE PALE BLUE EYE stars the always good Christian Bale (probably my favorite actor working today) as Civilian Detective Augustus Landor who is summoned to 1830’s West Point Military Academy to solve a murder. He is aided by a young cadet played by Harry Melling (Dudley Dursley in the HARRY POTTER FILMS) who turns out to be none other than Edgar Allan Poe.
Cooper films this movie in shadow and dark brown and yellow tones, giving the 1830’s setting a certain dream-like, dreary quality that underscores the gruesome goings-on happening behind the scenes at the fledgling United States Military Academy. These types of films - and the mood that is permeated throughout - can often be slow slogs and often times bogs down under the weight of it’s own pretentiousness - but Cooper keeps the action moving forward (though at a deliberate pace) often-times mimicking the piecing together of the circumstances that Bale’s character is doing.
Thank goodness Cooper had the good sense to reunite with his OUT OF THE FURNACE star and cast Bale in the lead role. The character of Detective Augustus Landor is dark and brooding - himself still working through the emotions of a tragedy from his past. But he is also thoughtful and deliberate in his detective work and Bale handles these moods…and the pacing of the film…like the pro that he is. If for no other reason, check out THE PALE BLUE EYE (a reference to Poe’s TELL TALE HEART) for Bale’s performance at the center of things.
Fortunately, Bale is aided in this film by a strong ensemble of (mostly) British actors from Toby Jones to Gillian Anderson to Simon McBurney and Timothy Spall - they all bring their considerable talents to lesser roles as suspects and/or witnesses in this “whodunnit”. Cooper also trots out good ol’ (and I do mean old) Robert Duvall for a “blink or you’ll miss it” cameo. The casting works well for this gothic murder mystery.
And then there is Melling as Edgar Allan Poe. He plays Poe as you might expect one to play a young Edgar Allan Poe - as an “odd duck” who is fascinated by macabre scenarios (which would be later found in his storytelling), but Melling gives him an intelligence and gentleness of soul that really works in this case.
The Cinematography of this movie is bleak and dark - as befits a gothic murder mystery - and the pacing is not fast in any sense of the word, but if you click into this world, you’ll be rewarding by an interesting murder mystery that resolves itself in a surprising - and satisfactory - way.
Letter Grade: B+
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Written for the screen (from book by Louis Bayard) and Directed by Scott Cooper (OUT OF THE FURNACE), THE PALE BLUE EYE stars the always good Christian Bale (probably my favorite actor working today) as Civilian Detective Augustus Landor who is summoned to 1830’s West Point Military Academy to solve a murder. He is aided by a young cadet played by Harry Melling (Dudley Dursley in the HARRY POTTER FILMS) who turns out to be none other than Edgar Allan Poe.
Cooper films this movie in shadow and dark brown and yellow tones, giving the 1830’s setting a certain dream-like, dreary quality that underscores the gruesome goings-on happening behind the scenes at the fledgling United States Military Academy. These types of films - and the mood that is permeated throughout - can often be slow slogs and often times bogs down under the weight of it’s own pretentiousness - but Cooper keeps the action moving forward (though at a deliberate pace) often-times mimicking the piecing together of the circumstances that Bale’s character is doing.
Thank goodness Cooper had the good sense to reunite with his OUT OF THE FURNACE star and cast Bale in the lead role. The character of Detective Augustus Landor is dark and brooding - himself still working through the emotions of a tragedy from his past. But he is also thoughtful and deliberate in his detective work and Bale handles these moods…and the pacing of the film…like the pro that he is. If for no other reason, check out THE PALE BLUE EYE (a reference to Poe’s TELL TALE HEART) for Bale’s performance at the center of things.
Fortunately, Bale is aided in this film by a strong ensemble of (mostly) British actors from Toby Jones to Gillian Anderson to Simon McBurney and Timothy Spall - they all bring their considerable talents to lesser roles as suspects and/or witnesses in this “whodunnit”. Cooper also trots out good ol’ (and I do mean old) Robert Duvall for a “blink or you’ll miss it” cameo. The casting works well for this gothic murder mystery.
And then there is Melling as Edgar Allan Poe. He plays Poe as you might expect one to play a young Edgar Allan Poe - as an “odd duck” who is fascinated by macabre scenarios (which would be later found in his storytelling), but Melling gives him an intelligence and gentleness of soul that really works in this case.
The Cinematography of this movie is bleak and dark - as befits a gothic murder mystery - and the pacing is not fast in any sense of the word, but if you click into this world, you’ll be rewarding by an interesting murder mystery that resolves itself in a surprising - and satisfactory - way.
Letter Grade: B+
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Kristy H (1252 KP) rated Left to Chance in Books
Jan 10, 2018
Great characters (3 more)
Strong portrayal of a small town
Some great funny moments
Lovely and powerful moments
Sweet, touching tale
After six years, Teddi Learner returns to her small hometown of Chance, Ohio to photograph the wedding of her best friend's husband, Miles. Miles is getting remarried after the death of his first wife, Celia. Celia and Miles and had one daughter together, Shayna, who is now twelve. Teddi and Shay had a somewhat superficial relationship after Celia's death--a yearly visit in Chicago, Skype calls, etc. But Shay's now nearly a teenager and she's personally asked Teddi to come to town--a place she's never set foot in since her beloved best friend passed away. When she arrives, she finds Chance has grown, and so has Shay, who is struggling with her father's remarriage and fitting in within her teen friend circle. Further, Teddi's memories of Celia are as strong as ever, and so are her feelings for Celia's brother, Beck, whom she was seeing when she fled town after (okay, pretty much during) Celia's funeral. Teddi has a new life now, photographing weddings all over the country for Hester Hotels. She left Chance behind and never looked back. But now that she's here, she can't help but notice all (and who) she left.
I enjoy picking up novels like this sometime because they let me indulge in my Lifetime / Hallmark movie side (I'm a sucker for those, especially at Christmas time). This book was an excellent diversion and while I certainly could predict some areas, it surprised me in others.
Nathan gives us some great characters, particularly Teddi and Shay. Teddi is complicated and a little annoying, at times, but she comes across as realistically human and flawed. Her love for Celia is incredibly strong and you can feel her loss and heartache come across the pages. The novel is a real testament to female friendship. At times you want to push or prod her a bit, but she's also stronger than she thinks. As for Shay, my heart often broke for the poor girl, struggling at the age of being between a girl and a teenager, with the added difficulty of having lost her mom.
Nathan also does a good job of portraying the eclectic cast of characters in small town Chance, with some good foils popping up for Teddi. Some of my particular favorite appearances included Teddi's cousin, Maggie, and childhood friend, Josie. Because it's a small place, Miles' wedding is the talk of the town, and we see how it brings up some bitterness and long held issues among some, including the immediate family.
Overall, I enjoyed this one. The hardest part was some melodrama in the plot and theme, which got to be a little too much at times. Some things seemed to be blown a bit out of proportion and there can be a lot of different plot threads going on at times. However, there are some really lovely and powerful moments and some incredibly funny ones--much of which stem from the strength of the characters. There's a bit of a picture perfect ending, but not the one I expected. This was a sweet, touching tale in many ways and exactly the read I needed at this point in time. 3.5+ stars.
I received a copy of this novel from the publisher and Netgalley (thank you!) in return for an unbiased review.
I enjoy picking up novels like this sometime because they let me indulge in my Lifetime / Hallmark movie side (I'm a sucker for those, especially at Christmas time). This book was an excellent diversion and while I certainly could predict some areas, it surprised me in others.
Nathan gives us some great characters, particularly Teddi and Shay. Teddi is complicated and a little annoying, at times, but she comes across as realistically human and flawed. Her love for Celia is incredibly strong and you can feel her loss and heartache come across the pages. The novel is a real testament to female friendship. At times you want to push or prod her a bit, but she's also stronger than she thinks. As for Shay, my heart often broke for the poor girl, struggling at the age of being between a girl and a teenager, with the added difficulty of having lost her mom.
Nathan also does a good job of portraying the eclectic cast of characters in small town Chance, with some good foils popping up for Teddi. Some of my particular favorite appearances included Teddi's cousin, Maggie, and childhood friend, Josie. Because it's a small place, Miles' wedding is the talk of the town, and we see how it brings up some bitterness and long held issues among some, including the immediate family.
Overall, I enjoyed this one. The hardest part was some melodrama in the plot and theme, which got to be a little too much at times. Some things seemed to be blown a bit out of proportion and there can be a lot of different plot threads going on at times. However, there are some really lovely and powerful moments and some incredibly funny ones--much of which stem from the strength of the characters. There's a bit of a picture perfect ending, but not the one I expected. This was a sweet, touching tale in many ways and exactly the read I needed at this point in time. 3.5+ stars.
I received a copy of this novel from the publisher and Netgalley (thank you!) in return for an unbiased review.
Never Look at the Empty Seats: A Memoir
Book
A tale of hard work, musical discovery, and faith, Charlie Daniels’s journey has been one of a...
Music biography
Movie Metropolis (309 KP) rated Okja (2017) in Movies
Jun 10, 2019
The Film that turned me vegetarian
Netflix has been hitting it out of the park with their original movies and TV series recently. Stranger Things, The Sinner, and Gerald’s Game have all been recent Netflix releases, with a caliber to beat some of the most seasoned of television broadcasters and filmmakers. One of the main films that stood out to me was Joon-ho Bong’s Okja – a heartfelt tale of a ‘superpig’ and her family.
Okja follows a young girl called Mija and her mission to save her best friend, Okja, from being kidnapped by a multi-national company. As much as this is a magical and funny tale of friendship, it is also a heartbreaking satire for corporate greed and the mistreatment of animals in the food industry.
Mija is trying to save Okja from Lucy Mirando (Tilda Swinton) – the CEO of the Mirando Corporation, who wants to create a ‘superpig’ to fuel her latest food venture. This movie really highlights how we, as humans, see animals as less than us, when actually they are our friends.
The ending of this film is especially poignant. Not to reveal any spoilers, but I haven’t cried that hard at a film since Marley & Me. It puts you in the position of these animals, innocent but not naive, and seeing things from their perspective really made me consider my actions in a different light.
Before I went to university, I wasn’t that interested in vegetarianism. I had tried it a few times, forgot I was a vegetarian, and then given up almost immediately. When I moved to uni and one of my flat mates was a long-time veggie, it intrigued me.
My interest was cemented after watching Okja. This story of friendship between man and beast made me realise that animals, as much as people may not like to think about it, can feel and think and be in pain. Whilst watching this, my heart ached for these imaginary creatures, that much that I made a big decision.
I decided to try to be vegetarian. For once in my life, I was going to genuinely try. It took me a while, and of course, I have lapsed at some points in these few months since watching the film. It’s only recently that I have genuinely been sticking to a mainly vegetarian diet, and I feel so much better, both morally and physically, in myself.
There’s no denying the health benefits of vegetarianism. It lowers your cholesterol, you tend to lose weight, and you generally have quite a balanced diet. However, the idea that I could be fighting against the mistreatment of animals just by changing my diet a bit, was reason enough for me.
By no means am I the perfect vegetarian. I still eat meat sometimes, if I want to, or if I don’t fancy any of the (usually awful) vegetarian offerings at a restaurant. I am just trying my hardest to live a 90% vegetarian lifestyle.
Some may say that this is a bit of a drastic decision to make off of the back of a film that isn’t real. This is the power of good storytelling. It can make you feel things, say things, change things. It’s a powerful skill to master.
By no means am I telling you that watching Okja will make you vegetarian immediately. It’s just so heart warming and also devastating at the same time, that I couldn’t ignore what it was telling me.
The friendship between Mija and Okja is beautiful. It’s fun, it’s hilarious, it’s special. They have a bond that even the threat of death cannot break, and Mija will not let go of Okja until she has her back.
Overall, this movie is an absolute triumph. Director/writer Joon-ho Bong creates a script that’s almost lyrical in its approach, so fluid and well strung together that there are no seams, no breaks in the approach, no cracks in the well-polished veneer. He creates a story that breaks and heals, it takes the watcher on a journey of both the mind and the heart. It’s art.
This film’s aim is not to make you vegetarian. It’s not to make you feel bad about your food choices or your love of meat. It’s a story of love.
https://moviemetropolis.net/2017/12/13/okja-review-the-film-that-turned-me-veggie/
Okja follows a young girl called Mija and her mission to save her best friend, Okja, from being kidnapped by a multi-national company. As much as this is a magical and funny tale of friendship, it is also a heartbreaking satire for corporate greed and the mistreatment of animals in the food industry.
Mija is trying to save Okja from Lucy Mirando (Tilda Swinton) – the CEO of the Mirando Corporation, who wants to create a ‘superpig’ to fuel her latest food venture. This movie really highlights how we, as humans, see animals as less than us, when actually they are our friends.
The ending of this film is especially poignant. Not to reveal any spoilers, but I haven’t cried that hard at a film since Marley & Me. It puts you in the position of these animals, innocent but not naive, and seeing things from their perspective really made me consider my actions in a different light.
Before I went to university, I wasn’t that interested in vegetarianism. I had tried it a few times, forgot I was a vegetarian, and then given up almost immediately. When I moved to uni and one of my flat mates was a long-time veggie, it intrigued me.
My interest was cemented after watching Okja. This story of friendship between man and beast made me realise that animals, as much as people may not like to think about it, can feel and think and be in pain. Whilst watching this, my heart ached for these imaginary creatures, that much that I made a big decision.
I decided to try to be vegetarian. For once in my life, I was going to genuinely try. It took me a while, and of course, I have lapsed at some points in these few months since watching the film. It’s only recently that I have genuinely been sticking to a mainly vegetarian diet, and I feel so much better, both morally and physically, in myself.
There’s no denying the health benefits of vegetarianism. It lowers your cholesterol, you tend to lose weight, and you generally have quite a balanced diet. However, the idea that I could be fighting against the mistreatment of animals just by changing my diet a bit, was reason enough for me.
By no means am I the perfect vegetarian. I still eat meat sometimes, if I want to, or if I don’t fancy any of the (usually awful) vegetarian offerings at a restaurant. I am just trying my hardest to live a 90% vegetarian lifestyle.
Some may say that this is a bit of a drastic decision to make off of the back of a film that isn’t real. This is the power of good storytelling. It can make you feel things, say things, change things. It’s a powerful skill to master.
By no means am I telling you that watching Okja will make you vegetarian immediately. It’s just so heart warming and also devastating at the same time, that I couldn’t ignore what it was telling me.
The friendship between Mija and Okja is beautiful. It’s fun, it’s hilarious, it’s special. They have a bond that even the threat of death cannot break, and Mija will not let go of Okja until she has her back.
Overall, this movie is an absolute triumph. Director/writer Joon-ho Bong creates a script that’s almost lyrical in its approach, so fluid and well strung together that there are no seams, no breaks in the approach, no cracks in the well-polished veneer. He creates a story that breaks and heals, it takes the watcher on a journey of both the mind and the heart. It’s art.
This film’s aim is not to make you vegetarian. It’s not to make you feel bad about your food choices or your love of meat. It’s a story of love.
https://moviemetropolis.net/2017/12/13/okja-review-the-film-that-turned-me-veggie/
Connor Sheffield (293 KP) rated Blackbeard in TV
May 28, 2017
Good cast (1 more)
Decent for a TV miniseries/movie
Not entirely accurate (2 more)
The characters and boats are far too clean
TV effects (or lack of) might spoil some scenes
Somewhat entertaining
So I was on the search for some more Pirate movies at my local DVD stores, in hopes of finding something with the effects of Pirates of the Caribbean, but a more serious plot like that of the Black Sails series. Something that feels more like how the golden age of piracy would seem, not quite as quirky and humorous as the Disney films, although I cannot fault them for they are some of my favourite movies. It was on my search, that I came across this, and my initial thoughts were that whilst it looked cheap, it could be an entertaining film. As it turns out, I discovered this was a TV miniseries, merged into roughly a 162 minute film.
It has some charm, I can say that much for it. The cast are decent with very few famous names, and the acting itself isn't dreadful. However, there seems to be some lacking in the actual filming and editing of the episodes/feature. It has a decent plot which involves a hunt for treasure, a hunt for justice and slight revenge, which makes the viewing, feel like a pirate experience should be, but there still seems to lack the proper visuals to complete the experience.
If you take a look at Pirates of the Caribbean, one aspect that makes those films so darn good is the visuals. The pirates are dirty, rotting teeth, golden teeth, dirty fingernails, and their ships are battle worn with scars in the woodwork and again, the dirt from barnicles, and land. The ships in this feature on the other hand, are the cleanest ships you'll see in a pirate themed show or movie, and they look as if they were freshly made straight from the ship builder themselves. There doesn't appear to be any barnicles clung onto them, nor are there any battle scars, even after you witness a battle in the beginning of the film. The pirates themselves are also clean, all with white teeth as though they visited a dentist and brushed their teeth with colgate or the next best brand. There's not a single sign of scurvy which was popular among pirates during the golden age, and I didn't really spot any scars from battles apart from the obvious ones where you witness a member of Blackbeards crew have part of his leg removed due to injury (you don't see the gruesome imagery, as it's 12 rated series). Other than that though, there no facial scars, no sign to tell us that Blackbeard has fought enough battles and lived through them to become reknowned as a devil instead of a man. We only see what appears to be a couple of weeks of him as a Captain, and yet he claims to already be known as the scurge of the seas, which is highly unlikely given that we only see him battle one ship and spend the rest of his time hunting treasure, never running across another opposing ship until the finale, which sees Blackbeard battle against a crew of Royal Navy soldiers led by Lieutenant Robert Maynard.
Whilst the plot had me intrigued for the most part, I can't say that this is a film I would 'Highly' recommend, but if you fancy watching a pirate movie, this could be somewhat sufficient until you find something else, despite some of the deaths in battle seeming very staged, as sometimes I would notice a sword being shoved theatrically into someones armpit, only for the victim of the blade to fall lifeless to the floor, some holding onto the blade as though left in their body, others being retrieved from the 'corpse' with no visible blood on the blade.
With very historical accuracy's, mostly about the legend of Captain Kidd, hiding treasure, and the title's that Blackbeard earned, before his life was taken by that of Robert Maynard, the location of his death, and some other less important factors, were dramatized for the series alone and should not be taken as historically accurate.
It's a decent film, but it's just not quite what I was hoping for, and certainly not as great as it could have been.
It has some charm, I can say that much for it. The cast are decent with very few famous names, and the acting itself isn't dreadful. However, there seems to be some lacking in the actual filming and editing of the episodes/feature. It has a decent plot which involves a hunt for treasure, a hunt for justice and slight revenge, which makes the viewing, feel like a pirate experience should be, but there still seems to lack the proper visuals to complete the experience.
If you take a look at Pirates of the Caribbean, one aspect that makes those films so darn good is the visuals. The pirates are dirty, rotting teeth, golden teeth, dirty fingernails, and their ships are battle worn with scars in the woodwork and again, the dirt from barnicles, and land. The ships in this feature on the other hand, are the cleanest ships you'll see in a pirate themed show or movie, and they look as if they were freshly made straight from the ship builder themselves. There doesn't appear to be any barnicles clung onto them, nor are there any battle scars, even after you witness a battle in the beginning of the film. The pirates themselves are also clean, all with white teeth as though they visited a dentist and brushed their teeth with colgate or the next best brand. There's not a single sign of scurvy which was popular among pirates during the golden age, and I didn't really spot any scars from battles apart from the obvious ones where you witness a member of Blackbeards crew have part of his leg removed due to injury (you don't see the gruesome imagery, as it's 12 rated series). Other than that though, there no facial scars, no sign to tell us that Blackbeard has fought enough battles and lived through them to become reknowned as a devil instead of a man. We only see what appears to be a couple of weeks of him as a Captain, and yet he claims to already be known as the scurge of the seas, which is highly unlikely given that we only see him battle one ship and spend the rest of his time hunting treasure, never running across another opposing ship until the finale, which sees Blackbeard battle against a crew of Royal Navy soldiers led by Lieutenant Robert Maynard.
Whilst the plot had me intrigued for the most part, I can't say that this is a film I would 'Highly' recommend, but if you fancy watching a pirate movie, this could be somewhat sufficient until you find something else, despite some of the deaths in battle seeming very staged, as sometimes I would notice a sword being shoved theatrically into someones armpit, only for the victim of the blade to fall lifeless to the floor, some holding onto the blade as though left in their body, others being retrieved from the 'corpse' with no visible blood on the blade.
With very historical accuracy's, mostly about the legend of Captain Kidd, hiding treasure, and the title's that Blackbeard earned, before his life was taken by that of Robert Maynard, the location of his death, and some other less important factors, were dramatized for the series alone and should not be taken as historically accurate.
It's a decent film, but it's just not quite what I was hoping for, and certainly not as great as it could have been.
Nick Friesen (96 KP) rated Blade Runner (1982) in Movies
Jul 13, 2017
Dark and gorgeous setting (4 more)
Harrison Ford
Thought-provoking premise
That moody Vangelis score
Rutger Hauer
Best in Class Cyberpunk Neo-Noir
Most Sci-Fi fans these days probably rank Blade Runner somewhere in their top five favorites. Its status and influence on Sci-Fi, especially in the Cyberpunk sub-genre, is undeniable. When it was first released in 1982, however, it was not so well appreciated. It was met with polarized reviews and underwhelming domestic box office figures. This was probably due to some misplaced expectations of the movie. The studio erroneously marketed Blade Runner as an action/adventure, and not to mention, Harrison Ford was riding the fame of another Sci-Fi franchise that was much more action-oriented. It's no surprise then, that audiences and critics alike were initially turned off by the slow-burn pacing of detective noir that Blade Runner pulled into a science fiction setting. Today, Blade Runner is a celebrated masterpiece of filmmaking and adored by fans around the world. However, with a sequel coming soon, those new to the franchise might be a little confused due to the existence of multiple versions of the film. Let's clear that up a bit.
Fast-forward ten years to 1992, when the world received the Director's Cut of the film. At the time, Blade Runner had picked up in popularity through video rental and the international market, and the studio was prompted to release an official Director's Cut after an unofficial version was being made available from a workprint. The Director's Cut was the first introduction to Blade Runner for a whole new generation, including myself.
Fast-forward fifteen more years to 2007, when Ridley Scott brought Blade Runner fans his definitive version of the movie, the Final Cut. Blade Runner: The Final Cut was digitally remastered and reworked by Ridley Scott with complete artistic freedom, whereas the Director's Cut was created by the studio without his involvement. This version fixes some technical problems that persisted from the theatrical version to the Director's Cut, and adds back a little story to better fulfill Ridley Scott's original vision for the film.
If you're looking to get into Blade Runner before Blade Runner 2049 hits theatres in October, the Final Cut is probably the best place to start. It offers the most cohesive viewing experience, complete with restored visuals. Believe me when I tell you there is no movie quite like Blade Runner. Watching Rick Deckard (Harrison Ford) track down and "retire" replicants on the streets of a dystopian Los Angeles awash in neon signs never ceases to fill me with awe. Rutger Hauer's performance as the main antagonist, Roy Batty, is both chilling and thought-provoking, making viewers question what being human truly means.
Blade Runner is now widely considered to be not just the first example of Cyberpunk in film, but also the best. And for good reason, as every frame is a work of art, and the philosophical questions it first posed 35 years ago are still being debated today. Us die-hard fans can only pray the upcoming sequel doesn't completely obliterate the mystery and pathos of the replicant condition.
Fast-forward ten years to 1992, when the world received the Director's Cut of the film. At the time, Blade Runner had picked up in popularity through video rental and the international market, and the studio was prompted to release an official Director's Cut after an unofficial version was being made available from a workprint. The Director's Cut was the first introduction to Blade Runner for a whole new generation, including myself.
Fast-forward fifteen more years to 2007, when Ridley Scott brought Blade Runner fans his definitive version of the movie, the Final Cut. Blade Runner: The Final Cut was digitally remastered and reworked by Ridley Scott with complete artistic freedom, whereas the Director's Cut was created by the studio without his involvement. This version fixes some technical problems that persisted from the theatrical version to the Director's Cut, and adds back a little story to better fulfill Ridley Scott's original vision for the film.
If you're looking to get into Blade Runner before Blade Runner 2049 hits theatres in October, the Final Cut is probably the best place to start. It offers the most cohesive viewing experience, complete with restored visuals. Believe me when I tell you there is no movie quite like Blade Runner. Watching Rick Deckard (Harrison Ford) track down and "retire" replicants on the streets of a dystopian Los Angeles awash in neon signs never ceases to fill me with awe. Rutger Hauer's performance as the main antagonist, Roy Batty, is both chilling and thought-provoking, making viewers question what being human truly means.
Blade Runner is now widely considered to be not just the first example of Cyberpunk in film, but also the best. And for good reason, as every frame is a work of art, and the philosophical questions it first posed 35 years ago are still being debated today. Us die-hard fans can only pray the upcoming sequel doesn't completely obliterate the mystery and pathos of the replicant condition.
Gareth von Kallenbach (980 KP) rated Cirque Du Soleil: Worlds Away (2012) in Movies
Aug 7, 2019
The talented combination of Academy award-winning filmmaker James Cameron and the renowned Cirque du Soleil combine in a new film entitled “Cirque du Soleil: Worlds Away”. For those unfamiliar with the dazzling and spectacular world of Cirque du Soleil, the company has created several amazing shows which blend music, costuming, innovative sets, and amazing feats of acrobatic, gymnastic and performance art. Many of their shows tour the world and several are in permanent residence in Vegas.
The movie stars Erica Linz as Mia who, after witnessing an unexpected event at a local circus, soon finds herself in another world that is comprised of bright star-filled skies, ever present mist, illuminated tents, and all manner of dazzling yet odd residents.
Mia is attempting to find the trapeze artist who disappeared during his performance and as she journeys around the strange new landscape she witnesses firsthand all sorts of incredible feats performed by the Cirque du Soleil cast. There are dazzling routines performed in water as well as aerial displays, each one is framed by Mia as she journeys to a new area.
While at first I found this captivating it soon became a little repetitious for me. After seeing eight live Cirque du Soleil shows I was quickly able to discern several routines that I’d seen previously. Selections from KA, Viva Elvis, Verekai and more are all being re-created up on the screen. This is not to devalue the stunning and amazing performances but after seeing them live, the acts seemed diminished to me up on the big screen as you do not get the full visual and aural experience of watching it live.
The credits verified that many of the sequences in the film are taken from their performances in Vegas and other venues. Aside from the 3-D aspect it brought to mind watching several of the shows when they’re broadcast on Bravo. While technically brilliant and amazing the movie is an extremely poor substitute for seeing them in person.
I have to say I was also disappointed with the 3-D aspect as James Cameron, who brought stunning visuals to “Avatar” to the point where one believed they were truly immersed upon the alien moon Pandora, came up short this time around. While there were some spectacular 3-D shots with the water based routines as well as some aerial features there simply wasn’t enough there to enhance the film beyond what was already presented by the performers.
This was a very hard review to write as this was not really a movie where one can bring a lot of attention to the acting. The story was little more than a framework to put a highlight reel of performances from many of their shows.
If you have never seen a Cirque du Soleil performance by all means I definitely recommend seeing this film but for those hard-core fans who are regular attendees of Cirque du Soleil, one might want to wait to catch this on DVD and make sure to catch a live show in person the next time that they are able.
The movie stars Erica Linz as Mia who, after witnessing an unexpected event at a local circus, soon finds herself in another world that is comprised of bright star-filled skies, ever present mist, illuminated tents, and all manner of dazzling yet odd residents.
Mia is attempting to find the trapeze artist who disappeared during his performance and as she journeys around the strange new landscape she witnesses firsthand all sorts of incredible feats performed by the Cirque du Soleil cast. There are dazzling routines performed in water as well as aerial displays, each one is framed by Mia as she journeys to a new area.
While at first I found this captivating it soon became a little repetitious for me. After seeing eight live Cirque du Soleil shows I was quickly able to discern several routines that I’d seen previously. Selections from KA, Viva Elvis, Verekai and more are all being re-created up on the screen. This is not to devalue the stunning and amazing performances but after seeing them live, the acts seemed diminished to me up on the big screen as you do not get the full visual and aural experience of watching it live.
The credits verified that many of the sequences in the film are taken from their performances in Vegas and other venues. Aside from the 3-D aspect it brought to mind watching several of the shows when they’re broadcast on Bravo. While technically brilliant and amazing the movie is an extremely poor substitute for seeing them in person.
I have to say I was also disappointed with the 3-D aspect as James Cameron, who brought stunning visuals to “Avatar” to the point where one believed they were truly immersed upon the alien moon Pandora, came up short this time around. While there were some spectacular 3-D shots with the water based routines as well as some aerial features there simply wasn’t enough there to enhance the film beyond what was already presented by the performers.
This was a very hard review to write as this was not really a movie where one can bring a lot of attention to the acting. The story was little more than a framework to put a highlight reel of performances from many of their shows.
If you have never seen a Cirque du Soleil performance by all means I definitely recommend seeing this film but for those hard-core fans who are regular attendees of Cirque du Soleil, one might want to wait to catch this on DVD and make sure to catch a live show in person the next time that they are able.
Phillip McSween (751 KP) rated Harry Potter and the Half-Blood Prince (2009) in Movies
Sep 10, 2020
Beautiful Visuals
A part of being a critic means being able to separate the art from the creator. In my recent review of Swing Time, I came to the conclusion that the movie as a whole was still enjoyable despite their use of blackface in one scene. While I don’t agree with everything JK Rowling is saying at this point in time, I can’t deny the magical world that she has created and the stories that lie within. Harry Potter and the Half-Blood Prince, the sixth installment in the franchise, is no exception. In this darker film, Harry is finding himself in preparation of facing off against the evil Lord Voldemort.
Acting: 10
This is my first review of a Harry Potter film. I must say, it has been a pleasure to watch these young actors grow into stars. Daniel Radcliffe was made for the role of Harry Potter and it appears he has matured at the same time his character has. Gone is the young innocence of the first film, replaced by teenage angst and anger. It is hard to imagine anyone else playing the role just as it is hard to imagine anyone but Alan Rickman playing the role of the hard-faced, dark Professor Snape.
Beginning: 10
The mayhem starts almost instantly and wastes no time in getting you sucked into the movie. You know right away what the heroes are up against and it ain’t looking good for the heroes. I appreciated that immediate intensity.
Characters: 10
The gang is all here from the previous five films, the characters we have grown to know and love. I respect the fact that every character continues to grow and mature in their own way, particularly Harry. Thrust into this world of magic and wizardry, becoming an adult becomes ten times more challenging with all the Hogwarts-related biz thrown into the mix.
Cinematography/Visuals: 10
At some point in the movie, there is a scene shot in black and white involving Albus Dumbledore that’s super cool to watch unfold. Visually this film is just as strong as the previous ones, if not stronger as it is working with darker tones throughout. With beautiful camerawork, director David Yates makes you feel the tension of each scene as you are taken on this journey.
Conflict: 8
Entertainment Value: 9
Even if you aren’t a die-hard Harry Potter fan, the film takes you on an extremely intense journey. You experience a rollercoaster of emotions, many unexpected if you haven’t read the books. It is a wonderful setup for the film’s final act.
Memorability: 8
Pace: 7
Plot: 10
Resolution: 5
While the ending was necessary, it definitely left a bad taste in my mouth. it also didn’t quite feel complete as it was an obvious setup for things to come. The last ten minutes were mediocre at best for me.
Overall: 87
I could think of worse ways to spend your time than watching Harry Potter and the Half-Blood Prince. The series continues to improve upon itself and this was a worthy installment. It has just the right level of creepiness factor to pique one’s interest.
Acting: 10
This is my first review of a Harry Potter film. I must say, it has been a pleasure to watch these young actors grow into stars. Daniel Radcliffe was made for the role of Harry Potter and it appears he has matured at the same time his character has. Gone is the young innocence of the first film, replaced by teenage angst and anger. It is hard to imagine anyone else playing the role just as it is hard to imagine anyone but Alan Rickman playing the role of the hard-faced, dark Professor Snape.
Beginning: 10
The mayhem starts almost instantly and wastes no time in getting you sucked into the movie. You know right away what the heroes are up against and it ain’t looking good for the heroes. I appreciated that immediate intensity.
Characters: 10
The gang is all here from the previous five films, the characters we have grown to know and love. I respect the fact that every character continues to grow and mature in their own way, particularly Harry. Thrust into this world of magic and wizardry, becoming an adult becomes ten times more challenging with all the Hogwarts-related biz thrown into the mix.
Cinematography/Visuals: 10
At some point in the movie, there is a scene shot in black and white involving Albus Dumbledore that’s super cool to watch unfold. Visually this film is just as strong as the previous ones, if not stronger as it is working with darker tones throughout. With beautiful camerawork, director David Yates makes you feel the tension of each scene as you are taken on this journey.
Conflict: 8
Entertainment Value: 9
Even if you aren’t a die-hard Harry Potter fan, the film takes you on an extremely intense journey. You experience a rollercoaster of emotions, many unexpected if you haven’t read the books. It is a wonderful setup for the film’s final act.
Memorability: 8
Pace: 7
Plot: 10
Resolution: 5
While the ending was necessary, it definitely left a bad taste in my mouth. it also didn’t quite feel complete as it was an obvious setup for things to come. The last ten minutes were mediocre at best for me.
Overall: 87
I could think of worse ways to spend your time than watching Harry Potter and the Half-Blood Prince. The series continues to improve upon itself and this was a worthy installment. It has just the right level of creepiness factor to pique one’s interest.
Chris Sawin (602 KP) rated Once Upon a Time in Hollywood (2019) in Movies
Jul 26, 2019
Leonardo DiCaprio (1 more)
Brad Pitt
It's 2 hours and 41 minutes and feels long. (2 more)
Story elements don't seem to go together.
Charles Manson stuff feels forced.
With Once Upon a Time…in Hollywood being his ninth feature film as writer and director and a career just shy of the three decade mark, you should probably know what to expect from a Quentin Tarantino film. Amongst all of the usual Tarantino trademarks of memorable performances, long strings of dialogue, a questionable amount of dancing, the inclusion of several shots of barefoot women, interior car sequences, and a relentless tidal wave of vulgarity that drowns the audience in a sea of sharp expletives, Once Upon a Time...in Hollywood lacks the one element that truly makes a Tarantino film worthwhile; coherent storytelling.
Once Upon a Time…in Hollywood should be great based on its cast alone. Leonardo DiCaprio delivers one of his more complex performances as television star turned infrequent movie star Rick Dalton. Dalton made a name for himself in a western TV series called Bounty Law. Rick burned that bridge when he tried to make the jump to movies and failed. Now he only seems to get work as the TV villain. Rick gets an opportunity in Rome to star in Italian spaghetti westerns and reluctantly accepts. Rick is an alcoholic that struggles with a stutter when he speaks. He has low self-esteem and questions every decision he makes. The scene where he flubs his lines followed by his angry outburst in his trailer is extraordinary. He’s also the one person on the planet who seems to hate hippies more than Eric Cartman.
Brad Pitt portrays Rick’s stunt double Cliff Booth. Cliff is a Vietnam War veteran who may or may not have (but probably did) kill his wife without any repercussions. Cliff hardly works as a stunt double anymore and mostly makes his living driving Rick around and doing various odd jobs for him. Cliff is the exact opposite of Rick. Rick lives in the Hollywood Hills in a roomy luxurious house with a pool and an extravagant view. Cliff lives in a trailer by a drive-in theater, eats macaroni and cheese for dinner, and has amazing chemistry with his pitbull Brandy. Cliff seems like a handy and capable guy, but he’s also extremely blunt. His to-the-point demeanor keeps Rick’s wilder antics in check the majority of the time. Cliff doesn’t exactly babysit Rick and allows him to live his own life, but he’s the one to give Rick the “you’re better than that,” kind of pep talk after it’s over.
One of the things mentioned in the film by Kurt Russell (he plays Randy and does the voiceover as the narrator) is that Rick and Cliff share this bond that is practically as deep as a brotherhood yet lacks the commitment of a marriage. Their bond is the backbone of the film and it’s interesting because they both seem like half decent people. Cliff may have killed someone and Rick beats himself up harder than anyone else could, but they’re both hard working individuals who put everything into their work and they have each other’s backs through thick and thin. Their bond is almost wholesome to the minuscule extent Tarantino will allow.
Brad Pitt’s chemistry with Brandy is also quite entertaining. There’s something comical about seeing Cliff rummage through his pantry filled with nothing but cans of dog food only to pull out two specific cans; one rat flavored and one raccoon flavored. He opens the cans with a manual can opener, tips them over in mid-air after removing their lids, and lets gravity guide that slop into whatever is designated as a food bowl that particular evening in a sickening PLOP! And a meaty splash that overflows onto the kitchen floor tiles. Cliff and Brandy seem almost as close as Cliff and Rick. They have this partnership that is easy to detect as soon as they’re on-screen together.
Mike Moh’s Bruce Lee impression isn’t totally flawless, but it is fairly excellent regardless. Moh is Korean and Bruce Lee was Chinese-American, so it’s an intriguing fit that works way better than you expect. The scene Moh has with Pitt as Bruce Lee and Cliff Booth have a physical encounter is an entertaining highlight of the film. The outrageous violence you’ve come to expect in a Tarantino film isn’t present in Once Upon a Time…in Hollywood until the final scene and it is a glorious display of dog biting, face pummeling, and flame throwing mayhem. If Cliff Booth hasn’t already established himself as a certified badass through the first two and a half hours, those last ten minutes certainly allow him to obtain that title with ease.
The unfortunate aspect of Once Upon a Time…in Hollywood is that everything doesn’t really come together in a satisfying way. You’ve got a washed up actor trying to regain the spotlight, a stunt double struggling to find work and make a living despite his troublesome reputation, and the Charles Manson stuff with Roman Polanski (Rafal Zawierucha) and Sharon Tate (Margot Robbie) living next door to Rick and Cliff’s time at the Spahn Movie Ranch with the Manson Family. In 1968, Tate and four others were murdered in the home she shared with Polanski by members of the Manson Family while being eight-and-a-half months pregnant. It’s a horrendous statistic that puts a different perspective on the ending if you didn’t know beforehand. The Manson inclusion mostly feels like an afterthought that isn’t ever taken seriously.
So many recognizable names are a part of the cast and everyone outside of Brad Pitt and Leonardo DiCaprio are basically a waste. Margot Robbie has a few moments that mostly reside in her reacting to films starring Sharon Tate in a movie theater. Tate seems to represent this pure and positive light in the film while Rick and Cliff experience the uglier aspects of the Tarantino-skewed late 1960s. Robbie downright glows during that movie theater sequence with a bubbly and contagious attitude, but doesn’t do much else over the course of the film.
Once Upon a Time…in Hollywood feels longer than its 141-minute duration. It drags so often in between its enjoyable moments and seems to purposely lag during every dialogue heavy sequence that is just talking without any sort of payoff. Tarantino’s attention to the music of whatever era he’s depicting has always been a staple in his films, but it is on the verge of annoyance here. The dancing in the film feels like an excuse to stretch out the story that much longer for no other reason other than to blatantly rub the audience’s nose in the time period.
There are some masterful elements to Once Upon a Time…in Hollywood that shouldn’t be overlooked. Leonardo DiCaprio’s Rick F’ing Dalton sequence is explosively brilliant and Brad Pitt has this abrasive charm as Cliff Booth. It’s difficult to make the argument that Quentin Tarantino has original stories still worth telling at this point in his career though since this suffers from incoherent progression and a reasonable purpose for why we should care about these characters. At one point in the film, Rick tells Cliff with tears streaming down his face and this unhealthy cough full of cancerous phlegm, “It’s official old buddy. I’m a has-been.” Maybe this is how Tarantino feels about himself now that he’s nearing the end of his filmmaking career. That struggle to find meaning and a welcome audience for something he used to care deeply about but may have lost the passion for in recent years. He had a good run, but as it stands Once Upon a Time…in Hollywood is overstuffed yet bland despite its two zesty leads.
Once Upon a Time…in Hollywood should be great based on its cast alone. Leonardo DiCaprio delivers one of his more complex performances as television star turned infrequent movie star Rick Dalton. Dalton made a name for himself in a western TV series called Bounty Law. Rick burned that bridge when he tried to make the jump to movies and failed. Now he only seems to get work as the TV villain. Rick gets an opportunity in Rome to star in Italian spaghetti westerns and reluctantly accepts. Rick is an alcoholic that struggles with a stutter when he speaks. He has low self-esteem and questions every decision he makes. The scene where he flubs his lines followed by his angry outburst in his trailer is extraordinary. He’s also the one person on the planet who seems to hate hippies more than Eric Cartman.
Brad Pitt portrays Rick’s stunt double Cliff Booth. Cliff is a Vietnam War veteran who may or may not have (but probably did) kill his wife without any repercussions. Cliff hardly works as a stunt double anymore and mostly makes his living driving Rick around and doing various odd jobs for him. Cliff is the exact opposite of Rick. Rick lives in the Hollywood Hills in a roomy luxurious house with a pool and an extravagant view. Cliff lives in a trailer by a drive-in theater, eats macaroni and cheese for dinner, and has amazing chemistry with his pitbull Brandy. Cliff seems like a handy and capable guy, but he’s also extremely blunt. His to-the-point demeanor keeps Rick’s wilder antics in check the majority of the time. Cliff doesn’t exactly babysit Rick and allows him to live his own life, but he’s the one to give Rick the “you’re better than that,” kind of pep talk after it’s over.
One of the things mentioned in the film by Kurt Russell (he plays Randy and does the voiceover as the narrator) is that Rick and Cliff share this bond that is practically as deep as a brotherhood yet lacks the commitment of a marriage. Their bond is the backbone of the film and it’s interesting because they both seem like half decent people. Cliff may have killed someone and Rick beats himself up harder than anyone else could, but they’re both hard working individuals who put everything into their work and they have each other’s backs through thick and thin. Their bond is almost wholesome to the minuscule extent Tarantino will allow.
Brad Pitt’s chemistry with Brandy is also quite entertaining. There’s something comical about seeing Cliff rummage through his pantry filled with nothing but cans of dog food only to pull out two specific cans; one rat flavored and one raccoon flavored. He opens the cans with a manual can opener, tips them over in mid-air after removing their lids, and lets gravity guide that slop into whatever is designated as a food bowl that particular evening in a sickening PLOP! And a meaty splash that overflows onto the kitchen floor tiles. Cliff and Brandy seem almost as close as Cliff and Rick. They have this partnership that is easy to detect as soon as they’re on-screen together.
Mike Moh’s Bruce Lee impression isn’t totally flawless, but it is fairly excellent regardless. Moh is Korean and Bruce Lee was Chinese-American, so it’s an intriguing fit that works way better than you expect. The scene Moh has with Pitt as Bruce Lee and Cliff Booth have a physical encounter is an entertaining highlight of the film. The outrageous violence you’ve come to expect in a Tarantino film isn’t present in Once Upon a Time…in Hollywood until the final scene and it is a glorious display of dog biting, face pummeling, and flame throwing mayhem. If Cliff Booth hasn’t already established himself as a certified badass through the first two and a half hours, those last ten minutes certainly allow him to obtain that title with ease.
The unfortunate aspect of Once Upon a Time…in Hollywood is that everything doesn’t really come together in a satisfying way. You’ve got a washed up actor trying to regain the spotlight, a stunt double struggling to find work and make a living despite his troublesome reputation, and the Charles Manson stuff with Roman Polanski (Rafal Zawierucha) and Sharon Tate (Margot Robbie) living next door to Rick and Cliff’s time at the Spahn Movie Ranch with the Manson Family. In 1968, Tate and four others were murdered in the home she shared with Polanski by members of the Manson Family while being eight-and-a-half months pregnant. It’s a horrendous statistic that puts a different perspective on the ending if you didn’t know beforehand. The Manson inclusion mostly feels like an afterthought that isn’t ever taken seriously.
So many recognizable names are a part of the cast and everyone outside of Brad Pitt and Leonardo DiCaprio are basically a waste. Margot Robbie has a few moments that mostly reside in her reacting to films starring Sharon Tate in a movie theater. Tate seems to represent this pure and positive light in the film while Rick and Cliff experience the uglier aspects of the Tarantino-skewed late 1960s. Robbie downright glows during that movie theater sequence with a bubbly and contagious attitude, but doesn’t do much else over the course of the film.
Once Upon a Time…in Hollywood feels longer than its 141-minute duration. It drags so often in between its enjoyable moments and seems to purposely lag during every dialogue heavy sequence that is just talking without any sort of payoff. Tarantino’s attention to the music of whatever era he’s depicting has always been a staple in his films, but it is on the verge of annoyance here. The dancing in the film feels like an excuse to stretch out the story that much longer for no other reason other than to blatantly rub the audience’s nose in the time period.
There are some masterful elements to Once Upon a Time…in Hollywood that shouldn’t be overlooked. Leonardo DiCaprio’s Rick F’ing Dalton sequence is explosively brilliant and Brad Pitt has this abrasive charm as Cliff Booth. It’s difficult to make the argument that Quentin Tarantino has original stories still worth telling at this point in his career though since this suffers from incoherent progression and a reasonable purpose for why we should care about these characters. At one point in the film, Rick tells Cliff with tears streaming down his face and this unhealthy cough full of cancerous phlegm, “It’s official old buddy. I’m a has-been.” Maybe this is how Tarantino feels about himself now that he’s nearing the end of his filmmaking career. That struggle to find meaning and a welcome audience for something he used to care deeply about but may have lost the passion for in recent years. He had a good run, but as it stands Once Upon a Time…in Hollywood is overstuffed yet bland despite its two zesty leads.