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LoganCrews (2861 KP) rated Divergent (2014) in Movies
Sep 20, 2020
đđŞđˇđŚđłđľđŞđŻđ¨. Unabashed (better) đđśđŻđ¨đŚđł đđ˘đŽđŚđ´ ripoff which doesn't just have nothing to say - but worse - it has nothing to say yet *thinks* it has something to say. A fucking terrible metaphor about conformity depicted through surface-level teenage angst and wince-worthy 2014 YA genre tropes while deliberately (and frustratingly) refusing to provide any world-building above routine exposition, but sometimes it's fun! Woodley is pretty crappy but everyone else is solidly engaging, Teller is great as a piece of shit and James is shockingly one of the better 'faceless white beefcake' roles - but of course the winner goes to evil Kate Winslet in full Hillary Clinton mode, pantsuit and all. I fully admit to being enchanted by this movie's stupid little world and it's never unwatchable either, often quite enjoyable - but can we talk about how idiotic of a system this is? You're telling me in order to stop discrimination and foster peace (from some conveniently absent events just known as "the war" [ugh]) they thought it'd be a good idea to make distinctly unconnected factions based on - essentially - a Buzzfeed "What's Your Personality Type" quiz, which aren't allowed to communicate and all of whom evidently hate each other that they then force a bunch of moody TEENAGERS to choose which one they want to be in - the single MOST IMPORTANT AND PERMANENT LIFE DECISION they'll ever make - and AREN'T ALLOWED a single switch EVER (because... reasons, ostensibly you aren't allowed to change as a person); and if they fail or want to choose a different path they just become HOMELESS FOR LIFE. (A sadly close unintentional riff on capitalism, actually). Anyway I like when this gets trippy and when it acts as a slideshow of these supposedly helpful organizations (which don't serve their respective purposes here at all) just start doing a bunch of fucked up things to their new recruits literally from day one but all its non-politics aside I'm sick of when movies like these make the blandest character in the movie not only lead the whole thing, but also make their only discernable personality feature that they're "not like the rest of us". Yeah, no shit they aren't - they're way less interesting.
TravelersWife4Life (31 KP) rated The Conqueror (Constantine's Empire, #1) in Books
Feb 24, 2021
Have you ever opened a package and immediately felt giddy over the book that popped out? Well, I will be honest that is how I felt about this book. The cover pulls you in, the weight and feel of the paper further builds up the hopes in your mind, and then to cap it all off, the description is intriguing! Did I mention I got a hardcover edition?Â
 Bryan Litfin is a new to me author with a very great writing style. He pulls you in with vivid characters, drama, battles, and dreams. I loved the period and setting, and I am so thankful for the research Bryan Litfin put into making this book believable and accurate. The characters were pretty realistic, and they chose believable courses of action. Although at times I marveled at their courage! The Religious aspects of the book were spot on for the period (but more on that in a bit), and I truly felt like I was back in time facing off against the lions with the characters. Both Flavia and Rex captured me from the first page, and I enjoyed getting to go on their journey (But I am curious to see what happens to them next).
 On the religious aspect. I usually only review Christian Fiction. This is not your normal overtly Christian Fiction. It does not mention God in the sense of having a personal deep abiding relationship with him. He is thought of more as a deity and mostly mentioned in passing. He is not the focus of this story, as most people expect from Christian Fiction. Yet to clarify it is not primarily listed as Christian Fiction, but Ancient, Historical, Romance with a Christian fiction genre thrown in there. Personally, if this book were to be marketed directly to a non-Christian audience, I could see it doing very well (maybe even having a movie made of it) but directing it towards Christians⌠I do not think it will go well. Also, because it has sexual connotations throughout the story, as well as taking an odd (period correct though) stance on women.
Overall, I give it 2 out of 5 stars for the great research, interesting story plot, and vivid characters. But I would NOT recommend it to anyone who is not sure of their faith, has problems with reading sexual references, or an impressionable audience. I would also recommend the publisher Revell not label it as Christian Fiction.
*I volunteered to read this book in return for my honest feedback. The thoughts and opinions expressed within are my own.
 Bryan Litfin is a new to me author with a very great writing style. He pulls you in with vivid characters, drama, battles, and dreams. I loved the period and setting, and I am so thankful for the research Bryan Litfin put into making this book believable and accurate. The characters were pretty realistic, and they chose believable courses of action. Although at times I marveled at their courage! The Religious aspects of the book were spot on for the period (but more on that in a bit), and I truly felt like I was back in time facing off against the lions with the characters. Both Flavia and Rex captured me from the first page, and I enjoyed getting to go on their journey (But I am curious to see what happens to them next).
 On the religious aspect. I usually only review Christian Fiction. This is not your normal overtly Christian Fiction. It does not mention God in the sense of having a personal deep abiding relationship with him. He is thought of more as a deity and mostly mentioned in passing. He is not the focus of this story, as most people expect from Christian Fiction. Yet to clarify it is not primarily listed as Christian Fiction, but Ancient, Historical, Romance with a Christian fiction genre thrown in there. Personally, if this book were to be marketed directly to a non-Christian audience, I could see it doing very well (maybe even having a movie made of it) but directing it towards Christians⌠I do not think it will go well. Also, because it has sexual connotations throughout the story, as well as taking an odd (period correct though) stance on women.
Overall, I give it 2 out of 5 stars for the great research, interesting story plot, and vivid characters. But I would NOT recommend it to anyone who is not sure of their faith, has problems with reading sexual references, or an impressionable audience. I would also recommend the publisher Revell not label it as Christian Fiction.
*I volunteered to read this book in return for my honest feedback. The thoughts and opinions expressed within are my own.
Bob Mann (459 KP) rated Live By Night (2017) in Movies
Sep 29, 2021
âSleep by dayâŚâ.
Ben Affleckâs new movie could best be described as âsprawlingâ. In both directing and writing the screenplay (based on a novel by Dennis Lehane), Affleck has aimed for a âGodfatherâ style gangster epic and missed: not missed by a country mile, but missed nonetheless.
Morally bankrupted by his experiences in the trenches, Joe Coughlin (Affleck) returns to Boston to pick and choose which social rules he wants to follow. Not sociopathic per se, as he has a strong personal code of conduct, but Coughlin turns to robbery walking a delicate path between the warring mob factions of the Irish community, led by Albert White (the excellent Robert Glenister from TVâs âHustleâ), and the Italian community, led by Maso Pescatore (Remo Girone). Trying to keep him out of jail is his father (âHarry Potterââs Brendan Gleeson) who â usefully â is the Deputy Police Chief. Life gets complicated when he falls in love with Whiteâs moll, Emma Gould (Sienna Miller). The scene is set for a drama stretching from Boston to the hot and steamy Everglades over a period of the next twenty years.
Although a watchable popcorn film, the choppy episodic nature of the movie is hugely frustrating, with no compelling story arc to glue all of the disparate parts together. The (often very violent) action scenes are very well done and exciting but as a viewer you donât feel invested in a âjourneyâ from the beginning of the film to the (unsatisfactory) ending. In my experience itâs never a good sign when the writer considers it necessary to add a voiceover to the soundtrack, and here Affleck mutters truisms about his thoughts and motives that irritate more than illuminate.
The sheer volume of players in the piece (there are about three filmâs worth in here) and the resulting minimal screen time given to each allows no time for character development. Unfortunately the result is that you really care very little about whether people live or die and big plot developments land as rather an âohâ than an âOH!â.
Affleck puts in a great turn as the autistic central character whose condition results in a cold, calculating demeanor and a complete lack of emotion reflecting on his face. Oh, hang on⌠no, wait a minute⌠sorry⌠Iâve got the wrong filmâŚ. Iâm thinking about âThe Accountantâ. I donât know whether he filmed these films in parallel. I generally enjoy Ben Affleckâs work (he was excellent in âThe Townâ) but for 95% of this film his part could have been completed by a burly extra with an Affleck mask on. In terms of acting range, his facial muscles barely get to a â2â on the scale. Given the double problem that he is barely credible as the âyoung manâ returning mentally wounded from the trenches, then in my opinion he would have been better to have focused on the writing and directing and found a lead of the likes of an Andrew Garfield to fill Coughlinâs shoes.
Thatâs not to say there is not some good acting present in the rest of the castâs all too brief supporting roles. Elle Fanning (âTrumboâ, âMaleficentâ) in particular shines as the Southern belle Loretta Figgis: a religious zealot driving her police chief father (Chris Cooper, âThe Bourne Identityâ) to distraction. Cooper also delivers a star turn as the moral but pragmatic law-man.
Sienna Miller (âFoxcatcherâ) delivers a passable Cork accent and does her best to develop some believable chemistry with the rock-like Affleck. Zoe Saldana (âStar Trekâ) is equally effective as a Cuban humanitarian.
In summary, itâs sprawlingly watchable⌠but overall a disappointment, with Affleck over-reaching. One day we surely will get a gangster film the likes of another âGodfatherâ, âGoodfellasâ or âUntouchablesâ. Although this has its moments, unfortunately itâs more towards the âPublic Enemiesâ end of the genre spectrum.
Morally bankrupted by his experiences in the trenches, Joe Coughlin (Affleck) returns to Boston to pick and choose which social rules he wants to follow. Not sociopathic per se, as he has a strong personal code of conduct, but Coughlin turns to robbery walking a delicate path between the warring mob factions of the Irish community, led by Albert White (the excellent Robert Glenister from TVâs âHustleâ), and the Italian community, led by Maso Pescatore (Remo Girone). Trying to keep him out of jail is his father (âHarry Potterââs Brendan Gleeson) who â usefully â is the Deputy Police Chief. Life gets complicated when he falls in love with Whiteâs moll, Emma Gould (Sienna Miller). The scene is set for a drama stretching from Boston to the hot and steamy Everglades over a period of the next twenty years.
Although a watchable popcorn film, the choppy episodic nature of the movie is hugely frustrating, with no compelling story arc to glue all of the disparate parts together. The (often very violent) action scenes are very well done and exciting but as a viewer you donât feel invested in a âjourneyâ from the beginning of the film to the (unsatisfactory) ending. In my experience itâs never a good sign when the writer considers it necessary to add a voiceover to the soundtrack, and here Affleck mutters truisms about his thoughts and motives that irritate more than illuminate.
The sheer volume of players in the piece (there are about three filmâs worth in here) and the resulting minimal screen time given to each allows no time for character development. Unfortunately the result is that you really care very little about whether people live or die and big plot developments land as rather an âohâ than an âOH!â.
Affleck puts in a great turn as the autistic central character whose condition results in a cold, calculating demeanor and a complete lack of emotion reflecting on his face. Oh, hang on⌠no, wait a minute⌠sorry⌠Iâve got the wrong filmâŚ. Iâm thinking about âThe Accountantâ. I donât know whether he filmed these films in parallel. I generally enjoy Ben Affleckâs work (he was excellent in âThe Townâ) but for 95% of this film his part could have been completed by a burly extra with an Affleck mask on. In terms of acting range, his facial muscles barely get to a â2â on the scale. Given the double problem that he is barely credible as the âyoung manâ returning mentally wounded from the trenches, then in my opinion he would have been better to have focused on the writing and directing and found a lead of the likes of an Andrew Garfield to fill Coughlinâs shoes.
Thatâs not to say there is not some good acting present in the rest of the castâs all too brief supporting roles. Elle Fanning (âTrumboâ, âMaleficentâ) in particular shines as the Southern belle Loretta Figgis: a religious zealot driving her police chief father (Chris Cooper, âThe Bourne Identityâ) to distraction. Cooper also delivers a star turn as the moral but pragmatic law-man.
Sienna Miller (âFoxcatcherâ) delivers a passable Cork accent and does her best to develop some believable chemistry with the rock-like Affleck. Zoe Saldana (âStar Trekâ) is equally effective as a Cuban humanitarian.
In summary, itâs sprawlingly watchable⌠but overall a disappointment, with Affleck over-reaching. One day we surely will get a gangster film the likes of another âGodfatherâ, âGoodfellasâ or âUntouchablesâ. Although this has its moments, unfortunately itâs more towards the âPublic Enemiesâ end of the genre spectrum.
Lee (2222 KP) rated A Series of Unfortunate Events - Season 1 in TV
Jul 26, 2017
The latest adaptation of the thirteen books comprising âA Series of Unfortunate Eventsâ makes its way onto Netflix, the last being the 2004 film starring Jim Carrey. I havenât read any of the books, or seen the movie. However my daughter has, and she loves them (the books, not so much the movie). So, we sat down together to watch season 1, which covers the first four books in the series, with two episodes devoted to each book.
The unfortunate events all involve three children â Violet, Klaus and Sunny Baudelaire, whose parents are killed in a fire at the beginning of the story. They inherit a vast fortune, which will not come into their possession until Violet comes of age, and are placed in the care of Count Olaf, supposedly their only living relative. Olaf is only concerned with getting his hands on the Baudelaire fortune though and the story covers his hilarious attempts to do so, quite often involving ridiculous disguises and usually involving further unfortunate unpleasantness for the children. The children initially escape Olaf, moving between a succession of guardians and locations for each book, only for him to catch up with them once more.
Quite simply, the show is excellent. I have to admit that the first episode took me a little while to settle into but from the opening credits, urging you to âlook awayâ, through to the big budget Burtonesque sets and vibrant colours, the attention to detail is simply incredible. Partick Warburton is Lemony Snickett, our narrator, wryly and brilliantly interjecting at various points to explain details and guide us through the story. Neil Patrick Harris is Count Olaf, in full on pantomime villain mode, and I absolutely loved the humour he brought to every single scene heâs in, whether heâs as himself or disguised as a scientist/sailor/woman! My only gripe is that heâs never quite villainous or evil enough, more along the lines of a harmless Dick Dastardly as each desperately elaborate scheme is so easily foiled. Heâs aided along the way by a group of oddball goons, who are all part of his theatre group â more creepy than scary â but it doesnât detract from the shows overall enjoyment, and I guess this is a family show after all! There are also a few good cameos along the way â Don Johnson as owner of the Miserable Mill, and Rhys Darby as his downtrodden partner, for example. All of the supporting cast are all brilliant, however the main stars of the show are the children. Superb young actors, right down to little baby Sunny who cutely talks in baby speak (subtitled for us to understand!), gnawing her way through anything she can get her hands on and surviving all manner of unfortunate events the children find themselves in.
Things get a little formulaic after a while â the children settle in with a new guardian, Count Olaf appears in a new guise and with a new plot, the children foil his plan and move on again. However, things change slightly for the final few episodes and throughout the season we gradually discover a deep background of secrets and conspiracies, which Iâm sure will help keep the story moving for the remainder of the seasons to come. And there are a few twists and turns along the way too. Overall I was hugely impressed with the show, as was my daughter. It appears to be a very faithful adaptation of what is a hugely popular series of books, and Iâm very much looking forward to whatâs to come next.
The unfortunate events all involve three children â Violet, Klaus and Sunny Baudelaire, whose parents are killed in a fire at the beginning of the story. They inherit a vast fortune, which will not come into their possession until Violet comes of age, and are placed in the care of Count Olaf, supposedly their only living relative. Olaf is only concerned with getting his hands on the Baudelaire fortune though and the story covers his hilarious attempts to do so, quite often involving ridiculous disguises and usually involving further unfortunate unpleasantness for the children. The children initially escape Olaf, moving between a succession of guardians and locations for each book, only for him to catch up with them once more.
Quite simply, the show is excellent. I have to admit that the first episode took me a little while to settle into but from the opening credits, urging you to âlook awayâ, through to the big budget Burtonesque sets and vibrant colours, the attention to detail is simply incredible. Partick Warburton is Lemony Snickett, our narrator, wryly and brilliantly interjecting at various points to explain details and guide us through the story. Neil Patrick Harris is Count Olaf, in full on pantomime villain mode, and I absolutely loved the humour he brought to every single scene heâs in, whether heâs as himself or disguised as a scientist/sailor/woman! My only gripe is that heâs never quite villainous or evil enough, more along the lines of a harmless Dick Dastardly as each desperately elaborate scheme is so easily foiled. Heâs aided along the way by a group of oddball goons, who are all part of his theatre group â more creepy than scary â but it doesnât detract from the shows overall enjoyment, and I guess this is a family show after all! There are also a few good cameos along the way â Don Johnson as owner of the Miserable Mill, and Rhys Darby as his downtrodden partner, for example. All of the supporting cast are all brilliant, however the main stars of the show are the children. Superb young actors, right down to little baby Sunny who cutely talks in baby speak (subtitled for us to understand!), gnawing her way through anything she can get her hands on and surviving all manner of unfortunate events the children find themselves in.
Things get a little formulaic after a while â the children settle in with a new guardian, Count Olaf appears in a new guise and with a new plot, the children foil his plan and move on again. However, things change slightly for the final few episodes and throughout the season we gradually discover a deep background of secrets and conspiracies, which Iâm sure will help keep the story moving for the remainder of the seasons to come. And there are a few twists and turns along the way too. Overall I was hugely impressed with the show, as was my daughter. It appears to be a very faithful adaptation of what is a hugely popular series of books, and Iâm very much looking forward to whatâs to come next.
Darren (1599 KP) rated Joker (2019) in Movies
Oct 4, 2019
Thoughts on Joker
Characters â Arthur Fleck is a loner that has been struggling for work, he wants to be an entertainer and is working on his own material to try his luck at stand-up comedy. He starts a new relationship and thinks his life is going in a new direction, until he learns the truth, becoming the icon we know. Murray Franklin is the host of his own talk show, he handles the comedy of the real events and is the man Arthur sees as an idol, he sees one of the clips of the stand up and puts it on his own show. Sophie is the neighbour and single mother that starts a relationship with Arthur, showing him in a better life. Penny is the mother of Arthur, she sees only the good in the richest man in the town and writes to him often waiting for a reply from her former employer. While most of the characters do have more about them, though most details will contain full spoilers.
Performances â Joaquin Phoenix gives us a wonderful performance, showing his commitment to the role, which will be one people will talk about when award season hits. Robert De Niro is joy to watch as the charismatic talk show host. Zazie Beetz is good to watch, though she just doesnât get enough screen time. Frances Conroy is strong to through the film.
Story â The story here follows a man that has been failed by the society and the mental health system, which sees him struggle to deal with reality and begin his path to become one of the most iconic comic villains. This is much like Venom, a strange choice for a character to bring to the centre stage because we shouldnât be backing a villainous character, but this time we do get everything connecting to why Joker became who he is. By stepping into how mental health can be brushed aside at times forcing people to fall through the cracks, not being treated the correct way to help them. If you are expecting any sort of comic book movie, you will be lost in this one because nothing we see has anything that couldnât become a reality, which is what could make the film feel unsettling in places. This is also a story that could have been told without needing to throw a big character name like the Joker in around it and it might have been even better if it didnât rely on the familiar name.
Crime â The crime side of the film shows how Arthur starts by being a victim, before he starts to try and show just how far he will go to stand up for himself.
Settings â The film does use the settings brilliantly, showing how Arthur has come from the bottom, never been given a thing in life, which does reflect just how we would see a Batman figure born with wealth.
Scene of the Movie â Talk show time.
That Moment That Annoyed Me â I didnât like the laughing stuff, it would include spoilers to why though.
Final Thoughts â This is an interesting a dark spin on the world for one of the biggest names in comic book history, without making it feel like a comic book in anyway.
Overall: Dark and as Twisted as You Would Imagine.
Characters â Arthur Fleck is a loner that has been struggling for work, he wants to be an entertainer and is working on his own material to try his luck at stand-up comedy. He starts a new relationship and thinks his life is going in a new direction, until he learns the truth, becoming the icon we know. Murray Franklin is the host of his own talk show, he handles the comedy of the real events and is the man Arthur sees as an idol, he sees one of the clips of the stand up and puts it on his own show. Sophie is the neighbour and single mother that starts a relationship with Arthur, showing him in a better life. Penny is the mother of Arthur, she sees only the good in the richest man in the town and writes to him often waiting for a reply from her former employer. While most of the characters do have more about them, though most details will contain full spoilers.
Performances â Joaquin Phoenix gives us a wonderful performance, showing his commitment to the role, which will be one people will talk about when award season hits. Robert De Niro is joy to watch as the charismatic talk show host. Zazie Beetz is good to watch, though she just doesnât get enough screen time. Frances Conroy is strong to through the film.
Story â The story here follows a man that has been failed by the society and the mental health system, which sees him struggle to deal with reality and begin his path to become one of the most iconic comic villains. This is much like Venom, a strange choice for a character to bring to the centre stage because we shouldnât be backing a villainous character, but this time we do get everything connecting to why Joker became who he is. By stepping into how mental health can be brushed aside at times forcing people to fall through the cracks, not being treated the correct way to help them. If you are expecting any sort of comic book movie, you will be lost in this one because nothing we see has anything that couldnât become a reality, which is what could make the film feel unsettling in places. This is also a story that could have been told without needing to throw a big character name like the Joker in around it and it might have been even better if it didnât rely on the familiar name.
Crime â The crime side of the film shows how Arthur starts by being a victim, before he starts to try and show just how far he will go to stand up for himself.
Settings â The film does use the settings brilliantly, showing how Arthur has come from the bottom, never been given a thing in life, which does reflect just how we would see a Batman figure born with wealth.
Scene of the Movie â Talk show time.
That Moment That Annoyed Me â I didnât like the laughing stuff, it would include spoilers to why though.
Final Thoughts â This is an interesting a dark spin on the world for one of the biggest names in comic book history, without making it feel like a comic book in anyway.
Overall: Dark and as Twisted as You Would Imagine.
Emma @ The Movies (1786 KP) rated Bloodshot (2020) in Movies
Mar 21, 2020
It's nice to get a different side of the comic book genre for once, I'm still suffering from Marvel/Avengers fatigue so this was a welcome diversion.
After a successful operation, soldier Ray Garrison has come home to take his beautiful wife of a well deserved break. What he doesn't realise is that he's being tracked by a team who are looking for information, and they'll do anything it takes to get it.
Waking up in a high tech lab with no memory Ray discovers that his body has been donated to a company after his death. RSC are pioneers in enhancements to the human body, taking people who might otherwise be given up on and giving them a new lease of life.
When you've had one of those days and you need some gratuitous violence you can't really go wrong with a Vin Diesel films... can you?
I can't say I ever go into films like this expecting a "masterpiece" of cinema, I was just hoping for some solid entertainment and it certainly gives that.
Enhanced humans always offer that level of escapism that allows for a few faux pas to come across as less obvious, but the trailer made me raise an eyebrow. The effects didn't look great in the few snippets we got, luckily, on seeing the final product thought I was pleasantly surprised. The close up action that wouldn't require major stunts were excellent and believable, I didn't feel like there were any holes to pick... until the elevator scene. You'll clearly see the graphic work and it's a real shame it is so bad in comparison to the rest, there's also a terrible chase scene that has no natural movement in it either.
It's not often Vin strays from a certain type of character so we get exactly what you'd expect from his portrayal of Ray Garrison, a driven "bad guy" with a reason to be mad at a lot of stuff. It's not groundbreaking but it's always fun to see.
Eiza Gonzalez as KT gets a good range to work with, she gives us an excellent character with a reasonable amount of depth compared to her counterparts... who I had to call Legs and Eyes in my notes because at no point did I notice if they had names or not.
Our bad guy was obviously Guy Pearce seems about right for him. It wasn't really out of his comfort zone either though and despite him being great as Dr Emil Harting it wasn't really pushing any boundaries.
Visually this film is pretty good, the fight sequence we get glimpses of during the trailer uses colour well and has some amusing little touches in it. A bit of humour and some shots that I'd associate with horror/thriller movies build that excitement and tension well. There's also a well edited montage that's used to great effect to show the audience an event succinctly without it becoming boring, which is always greatly appreciated in films.
There are a few comments I have but they definitely constitute spoilers so I'll keep them to myself, but there's nothing that majorly added or detracted from the film for me beyond what I've mentioned already.
As I said at the beginning, it's nice to have a different comic book entity on our screens and I think the story is a good one, we're thankfully given an interesting set of characters to focus on and that helps the story stay a little lighter. You know how I like an origin tale though and this seems a bit short on that bit of discovery. I've got the graphic novel to read though so I'm interested to see where it deviates. Despite its minor (and slightly major action CGI) issues I really enjoyed Bloodshot, Ray's anger issues really helped get out some frustration.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/bloodshot-movie-review.html
After a successful operation, soldier Ray Garrison has come home to take his beautiful wife of a well deserved break. What he doesn't realise is that he's being tracked by a team who are looking for information, and they'll do anything it takes to get it.
Waking up in a high tech lab with no memory Ray discovers that his body has been donated to a company after his death. RSC are pioneers in enhancements to the human body, taking people who might otherwise be given up on and giving them a new lease of life.
When you've had one of those days and you need some gratuitous violence you can't really go wrong with a Vin Diesel films... can you?
I can't say I ever go into films like this expecting a "masterpiece" of cinema, I was just hoping for some solid entertainment and it certainly gives that.
Enhanced humans always offer that level of escapism that allows for a few faux pas to come across as less obvious, but the trailer made me raise an eyebrow. The effects didn't look great in the few snippets we got, luckily, on seeing the final product thought I was pleasantly surprised. The close up action that wouldn't require major stunts were excellent and believable, I didn't feel like there were any holes to pick... until the elevator scene. You'll clearly see the graphic work and it's a real shame it is so bad in comparison to the rest, there's also a terrible chase scene that has no natural movement in it either.
It's not often Vin strays from a certain type of character so we get exactly what you'd expect from his portrayal of Ray Garrison, a driven "bad guy" with a reason to be mad at a lot of stuff. It's not groundbreaking but it's always fun to see.
Eiza Gonzalez as KT gets a good range to work with, she gives us an excellent character with a reasonable amount of depth compared to her counterparts... who I had to call Legs and Eyes in my notes because at no point did I notice if they had names or not.
Our bad guy was obviously Guy Pearce seems about right for him. It wasn't really out of his comfort zone either though and despite him being great as Dr Emil Harting it wasn't really pushing any boundaries.
Visually this film is pretty good, the fight sequence we get glimpses of during the trailer uses colour well and has some amusing little touches in it. A bit of humour and some shots that I'd associate with horror/thriller movies build that excitement and tension well. There's also a well edited montage that's used to great effect to show the audience an event succinctly without it becoming boring, which is always greatly appreciated in films.
There are a few comments I have but they definitely constitute spoilers so I'll keep them to myself, but there's nothing that majorly added or detracted from the film for me beyond what I've mentioned already.
As I said at the beginning, it's nice to have a different comic book entity on our screens and I think the story is a good one, we're thankfully given an interesting set of characters to focus on and that helps the story stay a little lighter. You know how I like an origin tale though and this seems a bit short on that bit of discovery. I've got the graphic novel to read though so I'm interested to see where it deviates. Despite its minor (and slightly major action CGI) issues I really enjoyed Bloodshot, Ray's anger issues really helped get out some frustration.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/bloodshot-movie-review.html
Bob Mann (459 KP) rated Captain Marvel (2019) in Movies
Sep 28, 2021
Women: Be the Best Version of Yourselves!
So, after much brouhaha and trolling â probably mostly from woman-hating teenage nerds who canât get laid â Brie Larsonâs hyper-hero barrels onto our cinema screens.
Stan Lee tribute.
First off, what a Marvel-lous idea to pay tribute to Stan Lee in the Marvel production logo for this film. Michael Giacchinoâs rousing Marvel anthem leads to a simple title card: âThanks Stanâ. Poignant and touching.
Lee makes another cameo in this film. I wonder how many more of these they have in the can? Will they âdo a Princess Leiaâ in future films and CGI in his cameos? Iâm not a great fan of this, but heâs such a staple part of the show that â with his familyâs permission of course â I would actually welcome having that happen in this specific case.
The Plot.
The movie opens on the Kree home world of Hala where Vers, a member of Starforce (âa race of noble warrior heroesâ), is being put through her paces by her mentor Yon-Rogg (Jude Law). But she is one mixed up lady, having some exceptional powers but no memory of her past. As an example of this, when she communes with the âSupreme Intelligenceâ (who looks different to everyone) she sees a woman (Annette Bening) who she clearly admires but she has no idea why.
The Kree are at war against the race of terrorist thugs known as the Skrulls. (Their name reminds me of a classic Mitchell and Webb Nazi SS sketch â âWe have skulls on our capsâŚ. does that mean weâre the baddies?â). After a Skrull ambush and some judicious brain-delving, Vers surfaces memories that leads her back to the Terran home world and a past that is set to redefine her future.
Whatâs good.
A lot. I really enjoyed this Marvel outing. With all the nay-sayers, I went in with low expectations, but the story actually built well and Brie Larson makes the role her own. It goes without saying that she looks gorgeous and fills out that costume very nicely! (The zero gravity âhair sceneâ is spectacular). But she manages to convey with that style superhero grit with an essence of quirky humour running underneath it. In doing so she holds the whole film together.
Also spectacular were the âyoungifiedâ Nick Fury (Samuel L Jackson) and Agent Coulson (Clark Gregg). The effect could have been âuncanny valleyâ with knobs on, but is actually done so well I didnât even notice. The chemistry between Jackson and Larson is great.
In the strong supporting cast Annette Bening is pure class, and a well-toned Jude Law seems to be having enormous fun. Elsewhere, Ben Mendelsohn (of âRogue Oneâ fame) is the leader of the Krulls and âGooseâ is played by Reggie, Gonzo, Archie and Rizzo! (Flerkin hell!)
The Marvel/DC Laff-ometer.
A key characteristic of the Marvel/DC films is the humour injected (more it has to be said in Marvel than DC), and in terms of the Marvel/DC-laffometer, this film probably lies fairly in the middle of the range. Itâs not the snort-fest of Ragnarok or GotG, but neither is it at the po-faced Man of Steel end. Much fun is made of the 1995 setting with gags from Arnie in âTrue Liesâ to computer loading times being well-exploited.
There are also lots of great Marvel in-jokes, not least of which is the story behind Fury losing his eye: hilarious!
Whatâs not so good.
The problem I have with âTransformersâ films is that there is little tension for me in seeing robots hitting ten-bells out of each other. Iâve similarly commented that many superhero movies have the same flaw that (Thanos aside, as things stand) they are pretty much indestructible and there is little threat implied. Captain Marvel however takes this to entirely different levels: the Hulk smash is a mere gnat-bite compared to what Carol Danvers can deliver; storming through planet-busting nuclear weapons and starships without a scratch. Itâs so over-the-top that a showdown scene in the finale, although played for a laugh, also becomes laughable in the wrong way.
The film also ladles on female empowerment as if it was gravy in an Australian chip shop! (I bet Theresa May has the film on permanent loop in the Downing Street home cinema). Donât get me wrong, I am a big supporter of #MeToo (and indeed #SheDo), but the film is a bit too heavy handed in its messaging in this area.
A troop of monkeys.
There are two extra scenes in the end titles (âmonkeysâ) and they are both corkers. The first bridges directly from âInfinity Warâ to âEndgameâ, picking up (literally) that pager that Nick Fury was no longer able to hang onto; the second a nice sight gag featuring Goose that links the end of this film to the âmonkeyâ at the end of Thor! Well worth waiting for!
Final Thoughts.
This was a Marvel film I really enjoyed, and which I would definitely re-watch. Itâs been written and directed by âindieâ writing duo Anna Boden and Ryan Fleck (with Geneva Robertson-Dworet also contributing to the screenplay), and very well done it is in my view. Not everyone seems to have liked it: but I did!
On April 25th, the Danvers vs Thanos match is going to be a bout that will be worth buying tickets to see!
Stan Lee tribute.
First off, what a Marvel-lous idea to pay tribute to Stan Lee in the Marvel production logo for this film. Michael Giacchinoâs rousing Marvel anthem leads to a simple title card: âThanks Stanâ. Poignant and touching.
Lee makes another cameo in this film. I wonder how many more of these they have in the can? Will they âdo a Princess Leiaâ in future films and CGI in his cameos? Iâm not a great fan of this, but heâs such a staple part of the show that â with his familyâs permission of course â I would actually welcome having that happen in this specific case.
The Plot.
The movie opens on the Kree home world of Hala where Vers, a member of Starforce (âa race of noble warrior heroesâ), is being put through her paces by her mentor Yon-Rogg (Jude Law). But she is one mixed up lady, having some exceptional powers but no memory of her past. As an example of this, when she communes with the âSupreme Intelligenceâ (who looks different to everyone) she sees a woman (Annette Bening) who she clearly admires but she has no idea why.
The Kree are at war against the race of terrorist thugs known as the Skrulls. (Their name reminds me of a classic Mitchell and Webb Nazi SS sketch â âWe have skulls on our capsâŚ. does that mean weâre the baddies?â). After a Skrull ambush and some judicious brain-delving, Vers surfaces memories that leads her back to the Terran home world and a past that is set to redefine her future.
Whatâs good.
A lot. I really enjoyed this Marvel outing. With all the nay-sayers, I went in with low expectations, but the story actually built well and Brie Larson makes the role her own. It goes without saying that she looks gorgeous and fills out that costume very nicely! (The zero gravity âhair sceneâ is spectacular). But she manages to convey with that style superhero grit with an essence of quirky humour running underneath it. In doing so she holds the whole film together.
Also spectacular were the âyoungifiedâ Nick Fury (Samuel L Jackson) and Agent Coulson (Clark Gregg). The effect could have been âuncanny valleyâ with knobs on, but is actually done so well I didnât even notice. The chemistry between Jackson and Larson is great.
In the strong supporting cast Annette Bening is pure class, and a well-toned Jude Law seems to be having enormous fun. Elsewhere, Ben Mendelsohn (of âRogue Oneâ fame) is the leader of the Krulls and âGooseâ is played by Reggie, Gonzo, Archie and Rizzo! (Flerkin hell!)
The Marvel/DC Laff-ometer.
A key characteristic of the Marvel/DC films is the humour injected (more it has to be said in Marvel than DC), and in terms of the Marvel/DC-laffometer, this film probably lies fairly in the middle of the range. Itâs not the snort-fest of Ragnarok or GotG, but neither is it at the po-faced Man of Steel end. Much fun is made of the 1995 setting with gags from Arnie in âTrue Liesâ to computer loading times being well-exploited.
There are also lots of great Marvel in-jokes, not least of which is the story behind Fury losing his eye: hilarious!
Whatâs not so good.
The problem I have with âTransformersâ films is that there is little tension for me in seeing robots hitting ten-bells out of each other. Iâve similarly commented that many superhero movies have the same flaw that (Thanos aside, as things stand) they are pretty much indestructible and there is little threat implied. Captain Marvel however takes this to entirely different levels: the Hulk smash is a mere gnat-bite compared to what Carol Danvers can deliver; storming through planet-busting nuclear weapons and starships without a scratch. Itâs so over-the-top that a showdown scene in the finale, although played for a laugh, also becomes laughable in the wrong way.
The film also ladles on female empowerment as if it was gravy in an Australian chip shop! (I bet Theresa May has the film on permanent loop in the Downing Street home cinema). Donât get me wrong, I am a big supporter of #MeToo (and indeed #SheDo), but the film is a bit too heavy handed in its messaging in this area.
A troop of monkeys.
There are two extra scenes in the end titles (âmonkeysâ) and they are both corkers. The first bridges directly from âInfinity Warâ to âEndgameâ, picking up (literally) that pager that Nick Fury was no longer able to hang onto; the second a nice sight gag featuring Goose that links the end of this film to the âmonkeyâ at the end of Thor! Well worth waiting for!
Final Thoughts.
This was a Marvel film I really enjoyed, and which I would definitely re-watch. Itâs been written and directed by âindieâ writing duo Anna Boden and Ryan Fleck (with Geneva Robertson-Dworet also contributing to the screenplay), and very well done it is in my view. Not everyone seems to have liked it: but I did!
On April 25th, the Danvers vs Thanos match is going to be a bout that will be worth buying tickets to see!
Bookapotamus (289 KP) rated The House Swap in Books
May 29, 2018
Wow, did this book have me on the edge of my seat the ENTIRE TIME. So much tension in this book - a marriage in shambles, addictions of the physical and mental kind, suspicious neighbors, and a house full of devastating clues of an affair that had deadly consequences ... I found myself flipping pages at a rapid speed, watching these clues and secrets unfold.
Caroline and Francis swap houses in what seems to be an innocent week away to try to rekindle a very strained marriage. The narrative flips back from Caroline's past and future, with a bit of Francis injected thoughout, as well as this mysterious person they've swapped houses with. Things. Get. Weird. I felt myself having some heart palpitations at different points of the story and jumping at noises in my house as I was reading alone at night! What an awesome movie this would make.
Somehow this house is connected to her, and little snippets of a past life keep peeking through and they totally freak Caroline out and totally freaked me out as well! I cannot imagine going though such paranoia, but I also can't help but thinking Caroline made her bed, and now she has to lie in it. It's always safe to assume that when you hold on to such horrible secrets, eventually, no matter how hard you try to forget them, they'll be revealed when you least expect it - and in the most freakingly intense ways! And that just makes this book all the better.
Edge of my seat might be an understatement - I was totally entranced by this book and I enjoyed the suspense very much.
Caroline and Francis swap houses in what seems to be an innocent week away to try to rekindle a very strained marriage. The narrative flips back from Caroline's past and future, with a bit of Francis injected thoughout, as well as this mysterious person they've swapped houses with. Things. Get. Weird. I felt myself having some heart palpitations at different points of the story and jumping at noises in my house as I was reading alone at night! What an awesome movie this would make.
Somehow this house is connected to her, and little snippets of a past life keep peeking through and they totally freak Caroline out and totally freaked me out as well! I cannot imagine going though such paranoia, but I also can't help but thinking Caroline made her bed, and now she has to lie in it. It's always safe to assume that when you hold on to such horrible secrets, eventually, no matter how hard you try to forget them, they'll be revealed when you least expect it - and in the most freakingly intense ways! And that just makes this book all the better.
Edge of my seat might be an understatement - I was totally entranced by this book and I enjoyed the suspense very much.
The Man in the High Castle
7.5
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A dazzling speculative novel of 'counterfactual history' from one of America's most highly-regarded...
