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Movie Metropolis (309 KP) rated The Dark Tower (2017) in Movies
Jun 10, 2019
10 years in the making
A film adaptation of Stephen King’s wildly successful Dark Tower novels has been rumoured for over a decade. In 2007, J.J. Abrams was attached to direct the film but dropped out in December 2009.
Then, in 2010, veteran director Ron Howard was to head the project, but that fell through in 2015. Finally, by June 2015 the film entered full-steam ahead production with Danish filmmaker Nikolaj Arcel at the helm.
So, 10 years on from the first murmurings of a Dark Tower film were discovered, what is the finished product like? And does it capture the wonder of that eight-novel behemoth by King?Roland Deschain (Idris Elba), the last Gunslinger, is locked in an eternal battle with Walter O’Dim (Matthew McConaughey), also known as the Man in Black. The Gunslinger must prevent the Man in Black from toppling the Dark Tower, the key that holds the universe together. With the fate of worlds at stake, two men collide in the ultimate battle between good and evil.
Unfortunately, this troubled production has resulted in a film that’s biggest sin is its averageness. There’s not a single thing about The Dark Tower that stands out as unique, even with charismatic stars like Matthew McCounaughey and Idris Elba at the helm.
The two of them perform well with the overtly expositional dialogue and Elba just reeks of charisma, despite the dross he unfortunately has to spout from time to time. Newcomer Tom Taylor is fine, but it pains me to say it, just a little bit bland.
The plot is nigh on impossible to understand for those who haven’t read King’s books with a story that never fully explains what the titular tower even does. How on earth can a film enter production without a script that fully describes such a vital plot point? It’d be like Mad Max: Fury Road never actually featuring Max, just referencing him occasionally.
Elsewhere, Tom Holkenborg’s score is bland, the special effects just about as average as you can get and the cinematography uninspiring. This is such a shame, because moments of excellence shine through.
The action is choreographed to a good standard and the sequences in which Elba and Taylor visit Earth are an enjoyable fish-out-of-water style distraction from an otherwise disappointing script. Think Thor on Earth but in NYC rather than New Mexico.
Ultimately though, films like this get me a little angry and I feel frustrated just writing this review. With eight books in which to take nuggets of story from, the film just kind of plods along for 95 minutes. I’m not normally one for suggesting a movie be longer, but The Dark Tower really did need an extra 30 minutes at least to flesh out the characters and plot.
Overall, despite two commanding performances from its lead stars, The Dark Tower is a royal mess. In a year that has featured numerous disappointing sequels, Sony could’ve kicked things up a gear with something completely new. In the end, we’re left with a film as bland and average as you can possibly get. What a shame.
Let’s just hope that It is the King adaptation we’ve been waiting for.
https://moviemetropolis.net/2017/08/19/the-dark-tower-review-10-years-in-the-making/
Then, in 2010, veteran director Ron Howard was to head the project, but that fell through in 2015. Finally, by June 2015 the film entered full-steam ahead production with Danish filmmaker Nikolaj Arcel at the helm.
So, 10 years on from the first murmurings of a Dark Tower film were discovered, what is the finished product like? And does it capture the wonder of that eight-novel behemoth by King?Roland Deschain (Idris Elba), the last Gunslinger, is locked in an eternal battle with Walter O’Dim (Matthew McConaughey), also known as the Man in Black. The Gunslinger must prevent the Man in Black from toppling the Dark Tower, the key that holds the universe together. With the fate of worlds at stake, two men collide in the ultimate battle between good and evil.
Unfortunately, this troubled production has resulted in a film that’s biggest sin is its averageness. There’s not a single thing about The Dark Tower that stands out as unique, even with charismatic stars like Matthew McCounaughey and Idris Elba at the helm.
The two of them perform well with the overtly expositional dialogue and Elba just reeks of charisma, despite the dross he unfortunately has to spout from time to time. Newcomer Tom Taylor is fine, but it pains me to say it, just a little bit bland.
The plot is nigh on impossible to understand for those who haven’t read King’s books with a story that never fully explains what the titular tower even does. How on earth can a film enter production without a script that fully describes such a vital plot point? It’d be like Mad Max: Fury Road never actually featuring Max, just referencing him occasionally.
Elsewhere, Tom Holkenborg’s score is bland, the special effects just about as average as you can get and the cinematography uninspiring. This is such a shame, because moments of excellence shine through.
The action is choreographed to a good standard and the sequences in which Elba and Taylor visit Earth are an enjoyable fish-out-of-water style distraction from an otherwise disappointing script. Think Thor on Earth but in NYC rather than New Mexico.
Ultimately though, films like this get me a little angry and I feel frustrated just writing this review. With eight books in which to take nuggets of story from, the film just kind of plods along for 95 minutes. I’m not normally one for suggesting a movie be longer, but The Dark Tower really did need an extra 30 minutes at least to flesh out the characters and plot.
Overall, despite two commanding performances from its lead stars, The Dark Tower is a royal mess. In a year that has featured numerous disappointing sequels, Sony could’ve kicked things up a gear with something completely new. In the end, we’re left with a film as bland and average as you can possibly get. What a shame.
Let’s just hope that It is the King adaptation we’ve been waiting for.
https://moviemetropolis.net/2017/08/19/the-dark-tower-review-10-years-in-the-making/
Emma @ The Movies (1786 KP) rated The Secret Life of Pets 2 (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
Have they made a TV series out of this yet? If not, why not? Secret Life Of Pets would be amazingly suited to being a TV series. While the whole film is quite entertaining, there's no denying that the little "intro" bits where we see the pets at home or get little skits outside the main storyline are the best bits. If anyone remembers Garfield & Friends, that's the format I could see it working in. As it is, Secret Life Of Pets 2 is a film of three parts... but not the beginning/middle/end type. We've got three individual storylines that do at least sort of meet up at the end.
There were a lot of teaser trailers for this and sadly it meant a lot of the scenes were pre-seen in some way, shape or form. I was surprised that none of them had any extra footage that was held back. I loved the vet clip and cat training montage, but there wasn't a single new moment to make them even better.
These two scenes in particular stuck out for another reason, they really highlighted the music. It's fun and a little jazzy, but it's also slightly too loud when combined with the speech which means it doesn't feel like it's in the background anymore.
The film starts out with Max getting used to the fact that there's now a child in his home. Initially he's apprehensive but soon he warms to Liam and goes out of his way to protect him from the dangers of the world. His hypersensitivity to everything has made him nervous and he needs to overcome this if he's going to deal with Liam going to pre-school.
Meanwhile, Captain Snowball is involved in his first case, a kitten that's been catnapped... well, a white tiger who has been chained and tormented by a circus. Snowball and Daisy must execute the perfect heist and free Hu from the evil Sergei's clutches.
Our third storyline doesn't fit in with the other two so well but it's possibly my favourite. Max has asked Gidget to look after his favourite toy and in a terrible accident it bounces out of her window and ends up landing in a neighbour's front room. That neighbour is definitely a cat person. Gidget must enlist the help of Chloe to learn how to be a cat so she can infiltrate her home and rescue the toy. This leads to my favourite scene in the whole film. Plan B has to be the best plan anyone has ever come up with, and Gidget really does deserve the admiration for it.
Secret Life Of Pets 2 is another amusing addition to the Illumination catalogue, and it's certainly not the worst. I've seen it twice and it's entertaining enough to watch more than once (although probably not as close together as I saw it). There are enough moments to keep everyone engaged, there are worse ways to spend some time.
What you should do
I think this will be a good option for a family outing, well worth seeing and it seems to be particularly popular with the kids.
Movie thing you wish you could take home
I think I'd want Chloe, even though I'm a bit of a dog person.
There were a lot of teaser trailers for this and sadly it meant a lot of the scenes were pre-seen in some way, shape or form. I was surprised that none of them had any extra footage that was held back. I loved the vet clip and cat training montage, but there wasn't a single new moment to make them even better.
These two scenes in particular stuck out for another reason, they really highlighted the music. It's fun and a little jazzy, but it's also slightly too loud when combined with the speech which means it doesn't feel like it's in the background anymore.
The film starts out with Max getting used to the fact that there's now a child in his home. Initially he's apprehensive but soon he warms to Liam and goes out of his way to protect him from the dangers of the world. His hypersensitivity to everything has made him nervous and he needs to overcome this if he's going to deal with Liam going to pre-school.
Meanwhile, Captain Snowball is involved in his first case, a kitten that's been catnapped... well, a white tiger who has been chained and tormented by a circus. Snowball and Daisy must execute the perfect heist and free Hu from the evil Sergei's clutches.
Our third storyline doesn't fit in with the other two so well but it's possibly my favourite. Max has asked Gidget to look after his favourite toy and in a terrible accident it bounces out of her window and ends up landing in a neighbour's front room. That neighbour is definitely a cat person. Gidget must enlist the help of Chloe to learn how to be a cat so she can infiltrate her home and rescue the toy. This leads to my favourite scene in the whole film. Plan B has to be the best plan anyone has ever come up with, and Gidget really does deserve the admiration for it.
Secret Life Of Pets 2 is another amusing addition to the Illumination catalogue, and it's certainly not the worst. I've seen it twice and it's entertaining enough to watch more than once (although probably not as close together as I saw it). There are enough moments to keep everyone engaged, there are worse ways to spend some time.
What you should do
I think this will be a good option for a family outing, well worth seeing and it seems to be particularly popular with the kids.
Movie thing you wish you could take home
I think I'd want Chloe, even though I'm a bit of a dog person.
Emma @ The Movies (1786 KP) rated Brightburn (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
Superheroes and villains are a subject close to my heart, I enjoy speculating on the good and bad potential of superpowers, so to have the bad Superman story laid out like this is very interesting to experience.
Having a bad Superman would have been good, but switching it to a child automatically knocks the "scary" up a notch, something we saw earlier in the year in The Prodigy.
Tori and Kyle Breyer are desperately trying to have a baby, their lives start to revolve around the idea when one night the Earth literally moves for them and a meteor hits their farm. Ten years later and Tori and Kyle have their adopted son, Brandon, but growing up comes with some unexpected twists.
Brightburn's trailer makes it very clear that what we're going to see is a Superman-style childhood but the film is actually not so blatant. In fact, everything about the pre-release information tells you exactly what you're going to get while the film alone actually leaves it to your imagination. You have to make assumptions and educated guesses about what's going to happen. It's a bit of a shame that there's really no successful way to advertise this film without pointing out the obvious.
Elizabeth Banks (eternally young and possibly getting younger) plays Tori, Brandon's mum. The terror she gets across while still retaining a mother's love is spot on and great to watch on screen. In particular there's a scene where she discovers Brandon's notebook and the way she reacts made me react, and twisting that scene with the side story of Brandon and his dad was so effective.
I have one fault when it comes to horror, and that's that I can't take it seriously, luckily lots of people in my screening felt the same way too. While there were a couple of moments that went for actual humour I found myself laughing at some of the gore too. It was the same reaction as I get from extreme action scenes, an extended "oooooooh!" with a slight wince and then laughing. I can't help it, it's just funny.
Brightburn is probably an easier horror to see as the scary moments are mostly predictable so you could close your eyes in time for the bad bits if you wanted too, a lot are prefixed with something ominous in the background to prepare you.
One moment that made me jump was actually not a scary piece, it was the moment Brandon realises he's different. You already know part of his discovery if you've seen the trailer and yet again this film then tweaks that moment to give you something a little different.
The way they use light and dark is great because it allows things to creep up on you, quite literally, and highlights the evil that is starting to permeate the town.
It surprises me that I enjoyed this one as much as I did. I think the action moments probably holds up a lot of it. I like the idea, but I'm not convinced that it was created as well as it could have been. I was impressed that they didn't step back from the violent moments though, Brightburn is ballsy, and I like it for that.
[Note: Stay to see some clips into the credits.]
What you should do
If you like horror then I think it's a fairly good offering to see, it's probably also a good crossover if you're more into superheroes.
Movie thing you wish you could take home
I'd love the aunt's house but without the creepy added extras.
Having a bad Superman would have been good, but switching it to a child automatically knocks the "scary" up a notch, something we saw earlier in the year in The Prodigy.
Tori and Kyle Breyer are desperately trying to have a baby, their lives start to revolve around the idea when one night the Earth literally moves for them and a meteor hits their farm. Ten years later and Tori and Kyle have their adopted son, Brandon, but growing up comes with some unexpected twists.
Brightburn's trailer makes it very clear that what we're going to see is a Superman-style childhood but the film is actually not so blatant. In fact, everything about the pre-release information tells you exactly what you're going to get while the film alone actually leaves it to your imagination. You have to make assumptions and educated guesses about what's going to happen. It's a bit of a shame that there's really no successful way to advertise this film without pointing out the obvious.
Elizabeth Banks (eternally young and possibly getting younger) plays Tori, Brandon's mum. The terror she gets across while still retaining a mother's love is spot on and great to watch on screen. In particular there's a scene where she discovers Brandon's notebook and the way she reacts made me react, and twisting that scene with the side story of Brandon and his dad was so effective.
I have one fault when it comes to horror, and that's that I can't take it seriously, luckily lots of people in my screening felt the same way too. While there were a couple of moments that went for actual humour I found myself laughing at some of the gore too. It was the same reaction as I get from extreme action scenes, an extended "oooooooh!" with a slight wince and then laughing. I can't help it, it's just funny.
Brightburn is probably an easier horror to see as the scary moments are mostly predictable so you could close your eyes in time for the bad bits if you wanted too, a lot are prefixed with something ominous in the background to prepare you.
One moment that made me jump was actually not a scary piece, it was the moment Brandon realises he's different. You already know part of his discovery if you've seen the trailer and yet again this film then tweaks that moment to give you something a little different.
The way they use light and dark is great because it allows things to creep up on you, quite literally, and highlights the evil that is starting to permeate the town.
It surprises me that I enjoyed this one as much as I did. I think the action moments probably holds up a lot of it. I like the idea, but I'm not convinced that it was created as well as it could have been. I was impressed that they didn't step back from the violent moments though, Brightburn is ballsy, and I like it for that.
[Note: Stay to see some clips into the credits.]
What you should do
If you like horror then I think it's a fairly good offering to see, it's probably also a good crossover if you're more into superheroes.
Movie thing you wish you could take home
I'd love the aunt's house but without the creepy added extras.
Bob Mann (459 KP) rated Ghost Stories (2018) in Movies
Sep 29, 2021
In that sleep of death, what dreams may come.
“Ghost Stories” is based on the spooky London West-End stage play by Jeremy Dyson and Andy Nyman who both write and direct the film version. I didn’t know this until the end credits, but began to wonder in the final act where the action suddenly becomes very “stagey” in nature. The screenplay was always bound to be both bizarre and intriguing, since Dyson has been a past contributor to TV’s “League of Gentlemen” and other equally surreal programmes and Nyman has been a major collaborator with the stage-illusionist Derren Brown.
Nyman himself plays TV paranormal debunker Professor Goodman who receives a surprise message from a respected colleague, long thought dead, who on his death bed wants Goodman to investigate the three cases from his career that he was never able to debunk. The first concerns Tony Matthews (Paul Whitehouse, “The Death of Stalin“) as a night watchman at a spooky old asylum; the second concerns Simon Rifkind (Alex Lawther, young Turing in “The Imitation Game“) as a freaked-out young man with a forest breakdown; and Mike Priddle (Martin Freeman, “Black Panther“) as a rich broker with parenting issues. As Goodman investigates each case weirder and weirder things start to happen: is this his mind playing tricks as his faith is rocked, or is there something more sinister going on?
The primary issue I have with this film is its portmanteau nature, harking back to similar films like “The Twilight Zone: the Movie”. Having three segments, loosely linked together, feels like a clunky device for a feature film…. (“Why are there three cases to investigate? Well, two would have made the film too short, and four would have made it too long!”).
That being said, the overall story arc and the drawing together of the strands for the unexpected (although not terribly original) conclusion, is intriguing.
The film looks and feels like a British-made horror film, which is both a compliment and a criticism. Who doesn’t like the jump-scares and the vague tackiness of a Hammer horror? But if you care to compare the production values on show here versus “A Quiet Place“, there is no comparison. The location-shot scenes (which are most of the scenes) seem to be very poorly lit: and that’s the non-spooky ones where you are supposed to see what’s going on!
The cast seem to be well-suited to their roles, with Paul Whitehouse in particular being impressive as the ‘on the make’ Matthews, who always feels like being on the knife-edge of violent outburst. I particularly liked Alex Lawther who does “spooked” extremely well! The script also seems to be well-tuned to the characters, with a number of laugh-out-loud lines. “****ing O2” exclaims Simon as he waves his mobile in the air… something the marketing department at the telecoms giant must have loved!
The critics seem to have been overtly positive about this film, which I can’t quite match. Apart from one or two scenes towards the end, all of the jump scares were pretty well signposted in advance. But it’s still as fun as a slightly tacky ghost house ride at the fairground, if you like that sort of thing, and is certainly a much more interesting and better watch in my book than some recent and much higher budget horror films like “It“.
Nyman himself plays TV paranormal debunker Professor Goodman who receives a surprise message from a respected colleague, long thought dead, who on his death bed wants Goodman to investigate the three cases from his career that he was never able to debunk. The first concerns Tony Matthews (Paul Whitehouse, “The Death of Stalin“) as a night watchman at a spooky old asylum; the second concerns Simon Rifkind (Alex Lawther, young Turing in “The Imitation Game“) as a freaked-out young man with a forest breakdown; and Mike Priddle (Martin Freeman, “Black Panther“) as a rich broker with parenting issues. As Goodman investigates each case weirder and weirder things start to happen: is this his mind playing tricks as his faith is rocked, or is there something more sinister going on?
The primary issue I have with this film is its portmanteau nature, harking back to similar films like “The Twilight Zone: the Movie”. Having three segments, loosely linked together, feels like a clunky device for a feature film…. (“Why are there three cases to investigate? Well, two would have made the film too short, and four would have made it too long!”).
That being said, the overall story arc and the drawing together of the strands for the unexpected (although not terribly original) conclusion, is intriguing.
The film looks and feels like a British-made horror film, which is both a compliment and a criticism. Who doesn’t like the jump-scares and the vague tackiness of a Hammer horror? But if you care to compare the production values on show here versus “A Quiet Place“, there is no comparison. The location-shot scenes (which are most of the scenes) seem to be very poorly lit: and that’s the non-spooky ones where you are supposed to see what’s going on!
The cast seem to be well-suited to their roles, with Paul Whitehouse in particular being impressive as the ‘on the make’ Matthews, who always feels like being on the knife-edge of violent outburst. I particularly liked Alex Lawther who does “spooked” extremely well! The script also seems to be well-tuned to the characters, with a number of laugh-out-loud lines. “****ing O2” exclaims Simon as he waves his mobile in the air… something the marketing department at the telecoms giant must have loved!
The critics seem to have been overtly positive about this film, which I can’t quite match. Apart from one or two scenes towards the end, all of the jump scares were pretty well signposted in advance. But it’s still as fun as a slightly tacky ghost house ride at the fairground, if you like that sort of thing, and is certainly a much more interesting and better watch in my book than some recent and much higher budget horror films like “It“.
BankofMarquis (1832 KP) rated The Power of the Dog (2021) in Movies
Dec 7, 2021
Deep and Layered
If the movie you are watching has a long shot of wheat blowing in the wind, then you are watching a character drama. If that same film also includes a 5 minute scene of someone braiding rope, then you have THE POWER OF THE DOG.
Written and Directed by Jane Campion (THE PIANO) and based on the best-selling novel by Thomas Savage, THE POWER OF THE DOG tells the tale of 2 brothers, talkative and charismatic Phil (Benedict Cumberbatch) and quiet and contemplative George (Jesse Plemons) who are tending their cattle ranch in Montana in the mid-1920’s. As horses give way to horseless carriages, George falls for a widow (Kirsten Dunst) who has an effeminate son (Kodi Smit-McPhee) and this relationship makes Phil face his own feelings - and a changing world.
In the hands of Campion, this film is a quiet, introspective look at how a hard-drinking, hard-living Cowboy deals with a changing world - and his own pent up emotions - and it works well. She weaves a fascinating story that takes its time unfurling it’s pages and the time that the audience takes in steeping themselves in the story and the characters is time well spent, indeed.
This is because the great Benedict Cumberbatch (TV’s SHERLOCK) is on-screen for 95% of the film as Phil and he commands the screen every moment that his presence is known. It is a bravura - though eerily quiet and introspective - performance by Cumberbatch. Campion and Cumberbatch create a memorable character that fills the screen not because he is wide or high or showy, but because he is deep and layered and the film spends most of its 2 hour and 6 minute running time peeling back the layers and digging deep into this character. It is an Oscar-worthy performance and is a shoo-in Oscar nominee and would not be surprising if Cumberbatch finally wins his Oscar for this role.
Plemons and Dunst (who played a couple in the first season of the TV series FARGO) are the catalyst that set the film - and the discoveries - in motion, but, though they are good, they have very little to do besides react to Cumberbatch’s characters’ moves.
Surprisingly, the character that does stand-out and the actor who does go toe-to-toe with Cumberbatch’s Phil is Peter, the son of Rose and played by Kodi Smit-McPhee (NIghtcrawler in X-MEN:APOCALYPSE) who is (at first) befriended by Phil as a joke and becomes closer and closer to him as the film progresses. It is through Peter that we dig through the layers of Phil - and it is a fascinating journey.
This is a gorgeous film to look at - Cinematographer Ari Wegner (THE GIRLFRIEND EXPERIENCE) is a shoo-in for an Oscar nomination as well - and this is good, because Phil (and the audience) spend long stretches looking out in the wilderness, contemplating the world - and change.
Not the fastest moving film you will ever encounter, but if you are in the mood for this sort of thing and can get caught up with discovering the layers of Phil, then you will be rewarded with a layered and deep experience.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Written and Directed by Jane Campion (THE PIANO) and based on the best-selling novel by Thomas Savage, THE POWER OF THE DOG tells the tale of 2 brothers, talkative and charismatic Phil (Benedict Cumberbatch) and quiet and contemplative George (Jesse Plemons) who are tending their cattle ranch in Montana in the mid-1920’s. As horses give way to horseless carriages, George falls for a widow (Kirsten Dunst) who has an effeminate son (Kodi Smit-McPhee) and this relationship makes Phil face his own feelings - and a changing world.
In the hands of Campion, this film is a quiet, introspective look at how a hard-drinking, hard-living Cowboy deals with a changing world - and his own pent up emotions - and it works well. She weaves a fascinating story that takes its time unfurling it’s pages and the time that the audience takes in steeping themselves in the story and the characters is time well spent, indeed.
This is because the great Benedict Cumberbatch (TV’s SHERLOCK) is on-screen for 95% of the film as Phil and he commands the screen every moment that his presence is known. It is a bravura - though eerily quiet and introspective - performance by Cumberbatch. Campion and Cumberbatch create a memorable character that fills the screen not because he is wide or high or showy, but because he is deep and layered and the film spends most of its 2 hour and 6 minute running time peeling back the layers and digging deep into this character. It is an Oscar-worthy performance and is a shoo-in Oscar nominee and would not be surprising if Cumberbatch finally wins his Oscar for this role.
Plemons and Dunst (who played a couple in the first season of the TV series FARGO) are the catalyst that set the film - and the discoveries - in motion, but, though they are good, they have very little to do besides react to Cumberbatch’s characters’ moves.
Surprisingly, the character that does stand-out and the actor who does go toe-to-toe with Cumberbatch’s Phil is Peter, the son of Rose and played by Kodi Smit-McPhee (NIghtcrawler in X-MEN:APOCALYPSE) who is (at first) befriended by Phil as a joke and becomes closer and closer to him as the film progresses. It is through Peter that we dig through the layers of Phil - and it is a fascinating journey.
This is a gorgeous film to look at - Cinematographer Ari Wegner (THE GIRLFRIEND EXPERIENCE) is a shoo-in for an Oscar nomination as well - and this is good, because Phil (and the audience) spend long stretches looking out in the wilderness, contemplating the world - and change.
Not the fastest moving film you will ever encounter, but if you are in the mood for this sort of thing and can get caught up with discovering the layers of Phil, then you will be rewarded with a layered and deep experience.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Neon's Nerd Nexus (360 KP) rated Glass (2019) in Movies
May 13, 2019
See the cracks
#glass may open like its #unbreakable but soon after starts to #split at the seems becoming a #disappointing & unnecessary conclusion to a trilogy we didnt really need. I confess I didnt really care that much for Split but as with Glass i found the most impressive aspect of both of these films is simply watching #jamesmacavoy put in some seriously impressive character work & ultimatly carry both films alone. His ability to flip seamlessly between these inner characters is not only impressive stuff to watch but adds great tension & unpredictability to what is other wise a very dull movie. At first i was slightly #impressed with Glass (as it seem as if #mnightshyamalan had progressed as a film maker & not only learnt from his mistakes but also adapted completely new styles of film making too) but as the film played out i realised what he has actually done is instead stolen ideas from much better films (ie #getout) then re used them again here. Dont get me wrong at times Glass is filmed great, the score is good & there are some well done #tense moments but theses are more often on not ruined by Shyamalans dorky & damn right #silly sense of #humour, bad writing & forced exposition heavy visual cues & dialog. Its so patronising & predictable at times its almost like hes not only taking the piss out of the #superhero genre but us the viewer too. For a #film thats been so heavily promoted & built up now for such a long time i feel weve all been eagerly anticipating its release to see this big conclusion & i can tell you now its so not been worth the wait. Not only is the final act so #boring & increadibly anticlimactic the end its self feels flat, tact on & empty like M Night just straight up ran out of ideas. This film series started out so #fresh & interesting but Glass takes a strange turn to the generic & mundane side of the superhero genre that most #Marvel films these days have managed to grow out of by now. This is one #trilogy that should of stayed Unbreakable. Very disappointing. #odeonlimitless #odeon #saturday #weekendvibes #filmcritic #comicbook #hero #filmbuff #samuelljackson #brucewillis #comic #villain #sundayfunday
Neon's Nerd Nexus (360 KP) rated Midsommar (2019) in Movies
Jul 5, 2019
I'm A Believer
Midsommar is a modern day folklore fairytale masterpiece that's traumatizing, intoxicating, stomach churning & deeply hypnotic. If you've seen Raw or the Witch & enjoyed them Midsommar is easily on par standard wise & comparability wise to them. A tale of love, passion, grievance, trauma, connection, communion, religion, celebration, purity & punishment. Filled with folklore, depth, symbolisum, metaphores & small visual clues Midsommar is one giant puzzle box & for everyone paying close attention there are entire multiple layers hidden in everything. Be it the pictures hung on the walls in the background, dialog, music cues, camera angles, subbtle special effects, screen transitions, facial expressions & props. Most people watching this film will leave wondering what strange horror movie they just saw & while technically it is a horror as the film played out I began to realise its intentions thus seeing its beauty & messages clearly. For instance like how if we all united as one unity & learnt to love rather than hate we could live in perfect harmony with nature. Acting is jaw dropping especially from the lead actress & sound design realises that creating tension doesn't necessarily need any sound at all. Visually its vibrant & striking with subtle effects like things pulsing & warping as if reality its self is an illusion. Midsommar made me feel quezy, disturbed, intreagued & so happy with chills going up & down my spine frequently as I also couldn't shake this feeling of dread the entire time. When violence hits it hits hard & sickeningly rough but as the last scene played out & the perfect ending hit I was smiling the most I have during a film in a long time. What an intelligent, thought provoking look at how a trauma in life can make us more susceptible & easily lead, how guilt/trauma manifests in us, how innocence & purity thrives above deceit & selfishness, but most importantly how we could all live way happier & more for filling lives as if we all respected each other & the world around us experiencing both pain & pleasure as one. Go see it sit in the front row & let Midsommar embrace & absorb you in the best experience of the year so far by far.
Darren (1599 KP) rated Hunt for the Wilderpeople (2016) in Movies
Sep 16, 2019
Characters – Ricky is a rebellious teenager that has bounced through the foster system, now he must go into farm life away from the street problems he has found himself in. when he goes off into the wilderness he wants to prove himself to everyone and Hec. Hec is the father figure that adopts Ricky only to take him under his wing after his wife died, he is a reluctant protector and guide who would rather be with at one with nature. Paula is the child welfare officer that is trying to find Ricky, she does want what is best for the children but can take things too far.
Performances – Sam Neill easily gives one of his best performances of his career here, showing the heart the character needs along with the determination to do the right thing too. Julian Dennison is fantastic in this role, he has the innocent side while also showing the front of toughness that the character requires.
Story – The story is a coming of age tale, between a foster kid and his reluctant new father who wasn’t prepared for the responsibility placed upon him. The two go on an adventure through the wilderness which gathers national news and a nationwide manhunt. It shows how two different people from different backgrounds of different ages can work together, teaching each other important life lesson, in what is one of the most enjoyable stories you will see.
Adventure/Comedy – The adventure takes us through the New Zealand wilderness, seeing sights of wonder along the way. The film is told in a comic tone that will make you laugh plenty of times along the journey.
Settings – The wilderness of New Zealand makes for the stunning settings being used, nearly all the scenes have a breath-taking view.
Scene of the Movie – The last run.
That Moment That Annoyed Me – Certain slang turns can go over your head.
Final Thoughts – This is one of the most fun coming of age movies I have ever seen, the adventure is fantastic, the comedy hits and the pairing works all day long.
Overall: Must watch cinema for the family.
Performances – Sam Neill easily gives one of his best performances of his career here, showing the heart the character needs along with the determination to do the right thing too. Julian Dennison is fantastic in this role, he has the innocent side while also showing the front of toughness that the character requires.
Story – The story is a coming of age tale, between a foster kid and his reluctant new father who wasn’t prepared for the responsibility placed upon him. The two go on an adventure through the wilderness which gathers national news and a nationwide manhunt. It shows how two different people from different backgrounds of different ages can work together, teaching each other important life lesson, in what is one of the most enjoyable stories you will see.
Adventure/Comedy – The adventure takes us through the New Zealand wilderness, seeing sights of wonder along the way. The film is told in a comic tone that will make you laugh plenty of times along the journey.
Settings – The wilderness of New Zealand makes for the stunning settings being used, nearly all the scenes have a breath-taking view.
Scene of the Movie – The last run.
That Moment That Annoyed Me – Certain slang turns can go over your head.
Final Thoughts – This is one of the most fun coming of age movies I have ever seen, the adventure is fantastic, the comedy hits and the pairing works all day long.
Overall: Must watch cinema for the family.
Ronyell (38 KP) rated James and the Giant Peach (1996) in Movies
Aug 4, 2020 (Updated Aug 4, 2020)
A Boy and His Giant Sized Bugs
Now, I was practically introduced to "James and the Giant Peach" through Roald Dahl's original book and I instantly fell in love with this story! So, I was definitely excited to see Roald Dahl's classic novel come to life in animation and I must say that I practically enjoyed this bizarre yet creative version of the classic children's story. I absolutely loved all of the characters, with my favorite characters being Miss Spider and the Centipede. I loved Miss Spider because she was quite an unusual character as she is considered frightening by the other bugs due to her literally eating other bugs, but I loved the fact that she cares so much for James and was willing to help him out no matter how horrifying the situation is. The Centipede was a truly fun character as he might be a little rude and annoying to the other bugs, but I loved his courageous nature and the fact that he is also willing to help James out of his situation. The voice acting was fantastic, especially Susan Sarandon as the quiet and serious Miss Spider and Richard Dreyfuss as the fun loving Centipede, as they fit the characters extremely well and they bring so much life to the characters. The story was truly creative, especially about the idea of a group of friends (giant insects in this case) coming together inside a giant peach and traveling around the world with it! I found that idea to be a bit strange yet creative at the same time and even though I have an intense fear of bugs, I definitely would have loved to be friends with giant bugs!
The major problem I had with this movie was that there seemed to be so many plot holes within this film that there were times that I did not understand what was going on in this film. Like for example, how did Aunt Sponge and Aunt Spiker drive their car through the ocean and how can a mechanical shark appear out of nowhere in the ocean?
Overall, "James and the Giant Peach" is definitely one treat that fans of Roald Dahl's works and fans of surreal animation should definitely check out!
The major problem I had with this movie was that there seemed to be so many plot holes within this film that there were times that I did not understand what was going on in this film. Like for example, how did Aunt Sponge and Aunt Spiker drive their car through the ocean and how can a mechanical shark appear out of nowhere in the ocean?
Overall, "James and the Giant Peach" is definitely one treat that fans of Roald Dahl's works and fans of surreal animation should definitely check out!
Kirk Bage (1775 KP) rated Black Mirror - Season 3 in TV
Mar 3, 2020
Nosedive - 8
We had to wait almost another 2 years for the Netflix investment to show a product, and in time for Halloween 2016 we got the super-glossy re-boot of Nosedive, with a big name up front and lots of anticipation. The tone was instantly more playful; less British, more inclusive to a world audience. It tackled with a wry humour the universal phenomenon of popularity and everything being rated, most notably, people themselves. In a future world of sunshine and pastel shades it has become the norm to rate every interaction, from buying coffee to buying a house, in the hope of becoming one of the beautiful people rated above a 4.5. It cleverly questions the motivations for that desire, and the pitfalls of false behaviour and the manipulation from an elite standpoint. It isn’t necessary to imagine this future, as we are virtually there already, and all this episode does is heighten the idea to hyperbolic proportions. Rated down by many viewers because it is “annoying”, but that is entirely the point: the whole thing makes you want to scream!
Playtest - 6.5
Also available for Halloween (as was the whole season, in standard Netflix style) came a chance to explore what really scares us! And… they blew it. Sure, the idea that gaming and VR becomes so photo realistic it seems entirely real isn’t far away. But, making it personal to a very annoying character dissolves all tension quite early on. Some mild jump scares aside, this has to go down as a missed opportunity. Notable only for the re-occurance of the White Bear symbol.
Shut Up and Dance - 7
This is the one most likely to make you think, hmm, that is too far! An uncomfortable episode, not only because of the subject matter and ultimate revelation, but because of the intense nastiness that pervades it. No doubt that tension is intentional, and therefore effective to a degree, but for me it crosses the line of entertainment and becomes simply nasty. Being unafraid to tackle controversial subjects is to be applauded, but the execution has to be note perfect, or the risk is the backlash this episode received. A cautionary tale about surveillance, data theft, blackmail and our personal online responsibility. Not a bad piece, just a slight misjudgment on tone and delivery.
San Junipero - 9.5
Just when critics were sharpening their pens that Netflix had ruined the potential of Black Mirror in its first phase, comes an almost perfect piece of TV that is literally heavenly! Everything about San Junipero is a work of art! Another “blind” episode that takes a while to unravel; the pacing and realisation of which is so beautifully judged that, from a writing point of view, this has to be seen as the pinnacle of the show to date. Mackenzie Davis is extraordinary as the vulnerable, shy and naive Yorkie, looking for a connection in an 80s nightclub, filled with nostalgia and cultural memes galore. The music alone is not only sing aloud perfect, but chosen for storytelling reasons so clever it raises goosebumps! The relationship between Yorkie and Kelly, an equally great Gugu Mbatha-Raw, is filled with chemistry and nuance, drawing us in to a place so deep that when the penny drops on what is really going on it draws a gasp and then possibly tears – I know it did for me! The mechanics of the technology that would make this story possible does raise a lot of questions, but in the end it is better to accept it as an allegory for love, life and our ideas of “eternity”. Don’t look too deeply at the how, but marvel at the why, and this could be the best hour of TV you will ever see! So rewatchable, rich and rewarding; the only reason not to make this a feature length big budget film is that how could it possibly be improved?
Men Against Fire - 7
Revisiting yet again the technology of a brain implant that affects our vision of the world, literally and figuratively, this episode explores indoctrination and brainwashing, with the underlying themes of racism and basic human compassion. It is a fine analogy of how the media and governments would have us think of immigrants and the “dangers” of anything “not us”. A tad obvious, and doesn’t really go anywhere new once the twist is revealed. Visually quite stunning, but not as strong as other episodes that cover similar ground.
Hated in the Nation - 8.5
With a running time of 89 minutes, this is essentially what happens when Black Mirror pushes an idea to feature length. Allowing more time for character development does make a difference, and the tension build in this fine concept for a thriller also benefits from a few extra minutes. The ever reliable Kelly MacDonald is the cornerstone of a strong cast, on the hunt for the mind behind a series of killings by killer bee drones, targeted at a democratically elected “most hated” person every day, based on a public vote. An exploration of media vilification and how easy it can be to manipulate our idea of someone’s identity and judge their actions and even personalities based on one wrong thing they may have said or done. The episode is a who-dunnit? A why-doit? And, framed, with the backdrop of the inquest surrounding events, both a good cop movie and a courtroom drama. Charlie Brooker has hinted that some of these characters may return at some point. I’m all for it.
We had to wait almost another 2 years for the Netflix investment to show a product, and in time for Halloween 2016 we got the super-glossy re-boot of Nosedive, with a big name up front and lots of anticipation. The tone was instantly more playful; less British, more inclusive to a world audience. It tackled with a wry humour the universal phenomenon of popularity and everything being rated, most notably, people themselves. In a future world of sunshine and pastel shades it has become the norm to rate every interaction, from buying coffee to buying a house, in the hope of becoming one of the beautiful people rated above a 4.5. It cleverly questions the motivations for that desire, and the pitfalls of false behaviour and the manipulation from an elite standpoint. It isn’t necessary to imagine this future, as we are virtually there already, and all this episode does is heighten the idea to hyperbolic proportions. Rated down by many viewers because it is “annoying”, but that is entirely the point: the whole thing makes you want to scream!
Playtest - 6.5
Also available for Halloween (as was the whole season, in standard Netflix style) came a chance to explore what really scares us! And… they blew it. Sure, the idea that gaming and VR becomes so photo realistic it seems entirely real isn’t far away. But, making it personal to a very annoying character dissolves all tension quite early on. Some mild jump scares aside, this has to go down as a missed opportunity. Notable only for the re-occurance of the White Bear symbol.
Shut Up and Dance - 7
This is the one most likely to make you think, hmm, that is too far! An uncomfortable episode, not only because of the subject matter and ultimate revelation, but because of the intense nastiness that pervades it. No doubt that tension is intentional, and therefore effective to a degree, but for me it crosses the line of entertainment and becomes simply nasty. Being unafraid to tackle controversial subjects is to be applauded, but the execution has to be note perfect, or the risk is the backlash this episode received. A cautionary tale about surveillance, data theft, blackmail and our personal online responsibility. Not a bad piece, just a slight misjudgment on tone and delivery.
San Junipero - 9.5
Just when critics were sharpening their pens that Netflix had ruined the potential of Black Mirror in its first phase, comes an almost perfect piece of TV that is literally heavenly! Everything about San Junipero is a work of art! Another “blind” episode that takes a while to unravel; the pacing and realisation of which is so beautifully judged that, from a writing point of view, this has to be seen as the pinnacle of the show to date. Mackenzie Davis is extraordinary as the vulnerable, shy and naive Yorkie, looking for a connection in an 80s nightclub, filled with nostalgia and cultural memes galore. The music alone is not only sing aloud perfect, but chosen for storytelling reasons so clever it raises goosebumps! The relationship between Yorkie and Kelly, an equally great Gugu Mbatha-Raw, is filled with chemistry and nuance, drawing us in to a place so deep that when the penny drops on what is really going on it draws a gasp and then possibly tears – I know it did for me! The mechanics of the technology that would make this story possible does raise a lot of questions, but in the end it is better to accept it as an allegory for love, life and our ideas of “eternity”. Don’t look too deeply at the how, but marvel at the why, and this could be the best hour of TV you will ever see! So rewatchable, rich and rewarding; the only reason not to make this a feature length big budget film is that how could it possibly be improved?
Men Against Fire - 7
Revisiting yet again the technology of a brain implant that affects our vision of the world, literally and figuratively, this episode explores indoctrination and brainwashing, with the underlying themes of racism and basic human compassion. It is a fine analogy of how the media and governments would have us think of immigrants and the “dangers” of anything “not us”. A tad obvious, and doesn’t really go anywhere new once the twist is revealed. Visually quite stunning, but not as strong as other episodes that cover similar ground.
Hated in the Nation - 8.5
With a running time of 89 minutes, this is essentially what happens when Black Mirror pushes an idea to feature length. Allowing more time for character development does make a difference, and the tension build in this fine concept for a thriller also benefits from a few extra minutes. The ever reliable Kelly MacDonald is the cornerstone of a strong cast, on the hunt for the mind behind a series of killings by killer bee drones, targeted at a democratically elected “most hated” person every day, based on a public vote. An exploration of media vilification and how easy it can be to manipulate our idea of someone’s identity and judge their actions and even personalities based on one wrong thing they may have said or done. The episode is a who-dunnit? A why-doit? And, framed, with the backdrop of the inquest surrounding events, both a good cop movie and a courtroom drama. Charlie Brooker has hinted that some of these characters may return at some point. I’m all for it.