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Martin Carr recommended track Love Action (I Believe in Love) by The Human League in Very Best Of by The Human League in Music (curated)
LeftSideCut (3778 KP) rated Escape Room (2019) in Movies
Sep 15, 2020
Contains spoilers, click to show
In short, Escape Room is actually a pretty tight thriller with a really disappointingly shitty ending.
It's disappointing because I found myself unexpectedly enjoying the bulk of the movie, even if it doesn't carry a lot of substance.
It's a more recent entry into the currently popular and seemingly unending PG-13 corner of horror. This of course means little in the way of gore or scares, something that I would usually take issue with, but managed to get on board with in this instance.
The set up is resemblant of Saw, but the later films in that franchise are evidence that more gore certainly doesn't make for a better film. With the focus here not being on violence but the actual puzzles the characters have to work through, I found it to be fairly engaging.
The set pieces and room designs are imaginative, and a lot of these moments are suitably tense.
The cast are decent as well - Taylor Russell, Tyler Labine and Nik Dodani are likeable, and I always enjoy Deborah Ann Woll whenever she pops up in things.
My main gripe however is the plot. The premise is really straightforward, not much room for error in that respect, so the inclusion of a faceless Hostel-esque corporation who caters to rich people who profit from this whole thing is just dumb. It's feels lazy, unnecessary, and more than anything, really tacked on and rushed. The ending flies by in an attempt to hastily set up a sequel rather than focusing on ending this film in a satisfying manner. It's a real shame because the majority of the film is relatively entertaining, and the climax just de-rails it completely.
Escape Room is worth watching for the Saw meets Cube premise, but ultimately ends up being a bang average thriller.
It's disappointing because I found myself unexpectedly enjoying the bulk of the movie, even if it doesn't carry a lot of substance.
It's a more recent entry into the currently popular and seemingly unending PG-13 corner of horror. This of course means little in the way of gore or scares, something that I would usually take issue with, but managed to get on board with in this instance.
The set up is resemblant of Saw, but the later films in that franchise are evidence that more gore certainly doesn't make for a better film. With the focus here not being on violence but the actual puzzles the characters have to work through, I found it to be fairly engaging.
The set pieces and room designs are imaginative, and a lot of these moments are suitably tense.
The cast are decent as well - Taylor Russell, Tyler Labine and Nik Dodani are likeable, and I always enjoy Deborah Ann Woll whenever she pops up in things.
My main gripe however is the plot. The premise is really straightforward, not much room for error in that respect, so the inclusion of a faceless Hostel-esque corporation who caters to rich people who profit from this whole thing is just dumb. It's feels lazy, unnecessary, and more than anything, really tacked on and rushed. The ending flies by in an attempt to hastily set up a sequel rather than focusing on ending this film in a satisfying manner. It's a real shame because the majority of the film is relatively entertaining, and the climax just de-rails it completely.
Escape Room is worth watching for the Saw meets Cube premise, but ultimately ends up being a bang average thriller.
LoganCrews (2861 KP) rated Palo Alto (2014) in Movies
Sep 20, 2020
Flooringly seismic, as someone who was around this exact age in this exact time period - this is the perfect representation of high school in 2012/2013 to a T. I'm always put off by how high school kids in movies from around this time never talk right, and even when its ever so close there's still just that slight amount of "out-of-touch adult writes how they think teens speak" jargon which completely takes me out of it. Not here, the way people talk to each other here is scarily dead-on to how me and my shithead friends used to talk to each other to the comma. The fact that there's no clear-cut good or bad guys, just varying degrees of shitty; those tiny but thick iPod touches that had the messaging apps with the grey background and green messages; weird fake meme-sounding music abound parties with lethal amounts of alcohol... trades in the (still tantalizing in its own way) metaphorical cringe that these movies usually have and finally depicts high schoolers from this time as the snaky, rash, social-status obsessed psychopaths that we were - the type who would sooner ask for mouthwash after they vomited up hours worth of alcohol rather than water. The déjà vu I felt during this was unreal, and beyond that it's the movie equivalent to an opiate - not to mention daring, economical, accurate, and cautiously brisk with tremendous performances across the board (Nat Wolff holy *shit*). What happens when you stick a bunch of emotionally unstable sociopaths who don't like each other (or are at least fooled into thinking they do) into a 5-days-a-week institution and leave them to their own devices in the early 2010s. I fucking *lived* this movie - which may even be the best one directed by a Coppola.
LeftSideCut (3778 KP) rated Horror Noire: A History of Black Horror (2019) in Movies
Sep 21, 2020
I found Horror Noire, a documentary that focuses on the role and impact of black creators and actors within horror cinema, to be an incredibly insightful watch.
It's covers a wide range of media, from 40s originals like I Walked with a Zombie, all the way up to present day entries like Us, and everything in between. My only criticism stems from this actually - with so many movies to cover, the pacing moves quite quickly, and results in a fairly short feature - I could have happily watched a few more hours!
The documentary features interviews with some genre icons such as Tony Todd, Keith David, Ernest R. Dickerson, Jordan Peele, Rachel True, Tananarive Due, just to name a few!
Listening to them talk about this subject which such fondness is wholesome, but not always comfortable - whereas Horror Noire is of course a celebration of black horror, none of the cast shy away from talking about the difficulties faced by the black community in film, including how they are portrayed, especially in earlier decades.
In 2020, these issues ring truer than ever.
As a white male, the biggest thing I've learned through recent events is that it's not enough to be not racist, - it's important and essential to be actively anti-racist. As a fan of horror for a lot of my life, I, perhaps ignorantly, haven't really attributed these issues to the genre before, so it's refreshing for me to learn about these kind of things and take them on board.
Horror Noire is a truly interesting watch, and has given me some films to add to my watchlist (Ganja & Hess is one I'll be checking out pretty soon). It's eye opening, and certainly deserves attention.
It's covers a wide range of media, from 40s originals like I Walked with a Zombie, all the way up to present day entries like Us, and everything in between. My only criticism stems from this actually - with so many movies to cover, the pacing moves quite quickly, and results in a fairly short feature - I could have happily watched a few more hours!
The documentary features interviews with some genre icons such as Tony Todd, Keith David, Ernest R. Dickerson, Jordan Peele, Rachel True, Tananarive Due, just to name a few!
Listening to them talk about this subject which such fondness is wholesome, but not always comfortable - whereas Horror Noire is of course a celebration of black horror, none of the cast shy away from talking about the difficulties faced by the black community in film, including how they are portrayed, especially in earlier decades.
In 2020, these issues ring truer than ever.
As a white male, the biggest thing I've learned through recent events is that it's not enough to be not racist, - it's important and essential to be actively anti-racist. As a fan of horror for a lot of my life, I, perhaps ignorantly, haven't really attributed these issues to the genre before, so it's refreshing for me to learn about these kind of things and take them on board.
Horror Noire is a truly interesting watch, and has given me some films to add to my watchlist (Ganja & Hess is one I'll be checking out pretty soon). It's eye opening, and certainly deserves attention.
LeftSideCut (3778 KP) rated Lifeforce (1985) in Movies
Oct 22, 2020
Fun fact - this is the second film I've seen where a female character uses Patrick Stewart's body to communicate with someone. Maybe this is some kind of niche sub-genre I'm just discovering...
Lifeforce is a film of three parts - it's one part sci-fi, one part British thriller, and one part ridiculous end-of-the-world horror, in that precise order.
The sci-fi part is decent enough, where a space crew discovers a strange object near Halley's comet, and further inspection reveals giant bats and sleeping naked humans in crystal coffins that turn out to weird space vampires (so on board with this ridiculous plot). It has a great aesthetic and some good special effects (keeping in mind this movie came out in 1985). The puppetry when some of the space-vampire victims come back to life is awesome.
Then the film shifts to Colonels Caine (Peter Firth) and Carlsen (Steve Railsback) as they track down one of the escaped aliens through London, whilst it kills and shapeshifts to it's hearts content.
This portion is slower, but Lifeforce has an engaging screenplay, and boasts a cast good enough to keep things entertaing. Patrick Stewart, Frank Finlay, Mathilda May, and John Hallam amongst others provide a solid ensemble that ensures the film doesn't fall into silly territory.
Everything leads up to the absurd finale however. London is completely aflame, hordes of vampire zombie things flood the street, there are bodies everywhere, shit is blowing up, vampire aliens are being vanquished with giant swords, people are being thrown out of helicopters - Tobe Hooper doesn't fuck about with this kind of stuff, and Lifeforce has a final sequence that puts a lot of other horror films to shame, and looks fantastic. It's glorious - This sci-fi-horror gem is well worth checking out.
Lifeforce is a film of three parts - it's one part sci-fi, one part British thriller, and one part ridiculous end-of-the-world horror, in that precise order.
The sci-fi part is decent enough, where a space crew discovers a strange object near Halley's comet, and further inspection reveals giant bats and sleeping naked humans in crystal coffins that turn out to weird space vampires (so on board with this ridiculous plot). It has a great aesthetic and some good special effects (keeping in mind this movie came out in 1985). The puppetry when some of the space-vampire victims come back to life is awesome.
Then the film shifts to Colonels Caine (Peter Firth) and Carlsen (Steve Railsback) as they track down one of the escaped aliens through London, whilst it kills and shapeshifts to it's hearts content.
This portion is slower, but Lifeforce has an engaging screenplay, and boasts a cast good enough to keep things entertaing. Patrick Stewart, Frank Finlay, Mathilda May, and John Hallam amongst others provide a solid ensemble that ensures the film doesn't fall into silly territory.
Everything leads up to the absurd finale however. London is completely aflame, hordes of vampire zombie things flood the street, there are bodies everywhere, shit is blowing up, vampire aliens are being vanquished with giant swords, people are being thrown out of helicopters - Tobe Hooper doesn't fuck about with this kind of stuff, and Lifeforce has a final sequence that puts a lot of other horror films to shame, and looks fantastic. It's glorious - This sci-fi-horror gem is well worth checking out.
Leanne Crabtree (480 KP) rated Rules of Redemption (The Firebird Chronicles, #1) in Books
Jan 12, 2021
This starts with Kira trying to get to one of her enemies destroyed ships so she can salvage parts and other things from it, making her way through a field of broken ship parts to get there. She finally makes it on board and salvages several parts but not without incident, heading back to her ship to find out something is now broken and they need to head to a station to buy the part. While there she comes to the rescue of some children and draws the attention of the Tuann, a race of beings who claim she is one of them. She is coerced into going with them to one of their planets by the leader of the group, Graydon, and lots of things come to light - including an intense attraction.
I actually got quite into this, more than i expected to considering sci-fi is not really my type of thing. Loads of stuff kept happening and kept me entertained. Secrets came to light, a romance was blooming, people thought dead were coming back out of the woodwork...
It was really well thought out and written and we learnt things about Kira in dribs and drabs that kept us guessing about her and what happened in her past until we learnt even more. It was great. The ending had me intrigued enough to go and buy book 2 straight away.
I'll admit that the above is mostly down to the romance that was slowly brewing between Kira and Graydon and the little fact that he's not letting her leave - which I find quite funny, because Kira was ready for killing him about it, and because I am excited to see what happens there romantically.
I actually got quite into this, more than i expected to considering sci-fi is not really my type of thing. Loads of stuff kept happening and kept me entertained. Secrets came to light, a romance was blooming, people thought dead were coming back out of the woodwork...
It was really well thought out and written and we learnt things about Kira in dribs and drabs that kept us guessing about her and what happened in her past until we learnt even more. It was great. The ending had me intrigued enough to go and buy book 2 straight away.
I'll admit that the above is mostly down to the romance that was slowly brewing between Kira and Graydon and the little fact that he's not letting her leave - which I find quite funny, because Kira was ready for killing him about it, and because I am excited to see what happens there romantically.
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