Search
Search results
Boating Suite: Complete Boating Log Book
Sports and Productivity
App
* * * * * * * * * * * * * * * * * * * * * * Do you like Boating Suite? If so, please take a minute...
The Flying Classroom
Book
A Spectator, Guardian, <Times, Independent on Sunday, Lovereading4kids and Mumsnet Book of the Year ...
Hotter on the Edge
Erin Kellison, K.C. Klein and Jessa Slade
Book
Three novellas of science fiction romance On the edge of space... On the edge of danger... On...
Science Fiction Romance
Sunless Sea
Games
App
LOSE YOUR MIND. EAT YOUR CREW. DIE. Failbetter’s award-winning PC game is now on iOS! Take the...
Junk Orbit
Tabletop Game
Space — the final junkyard. Good thing one planet's trash is another planet's treasure! In Junk...
BoardGames 2018Games SpaceGames
Tiny Epic Pirates
7.0
Rate It
Tabletop Game
Tiny Epic Pirates is a 45 minute, 1-4 player game of high-seas adventure, utilizing a variable...
Chris Sawin (602 KP) rated Death on the Nile (2022) in Movies
Feb 10, 2022
Most of the female cast. (2 more)
Poirot's backstory.
Kenneth Branagh's mustache.
Slow-moving with little payoff. (2 more)
Nothing substantial happens for the first hour.
Not entertaining. Perfect example of first world problems.
A Drowzy Whodunit Loaded with Mediocrity
Death on the Nile is the sequel to 2017’s Murder on the Orient Express with director and lead actor Kenneth Branagh returning. The mystery thriller is based on the 1937 novel of the same name by Agatha Christie. Death on the Nile has been adapted before as a 1978 film and as a 2004 episode of the Poirot television series starring David Suchet.
The 2022 film has been completed since December of 2019. The film was moved around several times due to COVID and was pushed back even further after Armie Hammer’s abuse allegations.
Mostly occurring shortly after the events of Murder on the Orient Express, Death on the Nile offers a bit of a look into the past of Hercule Poirot (Branagh). Taking place on the Yser Bridge in Belgium In 1914, a young Poirot advises his Belgian captain to attack the Germans spontaneously without warning. The attack is a success, but Poirot’s captain triggers an explosive after their victory. The explosion leaves Poirot’s face heavily scarred and offers an explanation as to why he always has a mustache.
Poirot reunites with his friend Bouc (Tom Bateman, who also returns from Murder on the Orient Express) in Egypt. Bouc is traveling with his mother Euphemia (Annette Bening) and their friends as they celebrate the marriage of Linnet Ridgeway (Gal Gadot) and Simon Doyle (Armie Hammer). To make matters more complicated, Simon was originally romantically involved with Jaqueline (Emma Mackey) who was also a former friend of Linnet. She now scornfully follows Simon and Linnet around Egypt.
The party travels on the S. S. Karnak, a steamship, along the river Nile. A murder eventually takes place on the steamship, which ignites a desire within Poirot to discover who the killer is before more suffer the same fate.
CGI and visual effects are used to make Kenneth Branagh look younger in the opening sequence of the film. The issue is he looks almost as bad as Henry Cavill did as Superman during the reshoots for Justice League. Branagh’s upper lip is almost nonexistent during this sequence and his philtrum seems to barely move when he speaks. It’s a visual nightmare and a terrible way to jump start a murder mystery.
Poirot travels to a Jazz nightclub where he’s first introduced to Simon, Jacqueline, and Linnet. Poirot spends much of the film embracing his OCD habits and people watching. This first nightclub sequence is about ten minutes long and you’re basically forced to watch people do nothing but dance for that entire time. Armie Hammer’s overly sexual dancing combined with his heavy breathing and constant sweating with both Gal Gadot and Emma Mackey is nauseating even without taking his sexual allegations into consideration.
Nothing really happens in the film for the first hour. Death on the Nile takes its time getting to the murder as little things begin to disappear (like a tube of paint) and Simon and Linnet are nearly crushed to death by a falling rock as they’re practically mid-coitus while sightseeing some pyramids. Emma Mackey gives a particularly strong performance. She is blinded by one-sided love in the film and her performance is a combination of passion, borderline insanity, and a broken heart.
Annette Bening is so cynical that it’s humorous and Jennifer Saunders adds just enough sarcastic bite to remind us ever so slightly of Absolutely Fabulous. Letitia Wright portrays business manager Rosalie Otterbourne. Her performance is intriguing because she’s always fighting for what she feels like she’s rightfully owed; whether it’s the right amount of money for her services or her happiness away from the limelight.
Like Murder on the Orient Express and other Agatha Christie adaptations, the enticing aspect of Death on the Nile is not only its massive and recognizable cast but also the fact that the story is written in a way that everyone is a suspect. The film’s nonchalant way of meandering towards that first murder is frustrating. A deliberate pace is one thing, but Death on the Nile is boring for the most part. Poirot is asked to take a case involving Jacqueline and the safety of Simon and Linnet, but is then mocked for being heartless and not being able to solve the case sooner. The people on board are likely meant to be scared, but come off as rich people not getting what they want the instant they want it.
Death on the Nile crawls towards a resolution you don’t feel invested in. Poirot’s backstory is interesting and there are some solid performances especially from the female cast, but the film otherwise feels like an unwanted game of Guess Who after you unwillingly chug two bottles of NyQuil and are asked to predict who the killer is after two long hours of tediousness.
The 2022 film has been completed since December of 2019. The film was moved around several times due to COVID and was pushed back even further after Armie Hammer’s abuse allegations.
Mostly occurring shortly after the events of Murder on the Orient Express, Death on the Nile offers a bit of a look into the past of Hercule Poirot (Branagh). Taking place on the Yser Bridge in Belgium In 1914, a young Poirot advises his Belgian captain to attack the Germans spontaneously without warning. The attack is a success, but Poirot’s captain triggers an explosive after their victory. The explosion leaves Poirot’s face heavily scarred and offers an explanation as to why he always has a mustache.
Poirot reunites with his friend Bouc (Tom Bateman, who also returns from Murder on the Orient Express) in Egypt. Bouc is traveling with his mother Euphemia (Annette Bening) and their friends as they celebrate the marriage of Linnet Ridgeway (Gal Gadot) and Simon Doyle (Armie Hammer). To make matters more complicated, Simon was originally romantically involved with Jaqueline (Emma Mackey) who was also a former friend of Linnet. She now scornfully follows Simon and Linnet around Egypt.
The party travels on the S. S. Karnak, a steamship, along the river Nile. A murder eventually takes place on the steamship, which ignites a desire within Poirot to discover who the killer is before more suffer the same fate.
CGI and visual effects are used to make Kenneth Branagh look younger in the opening sequence of the film. The issue is he looks almost as bad as Henry Cavill did as Superman during the reshoots for Justice League. Branagh’s upper lip is almost nonexistent during this sequence and his philtrum seems to barely move when he speaks. It’s a visual nightmare and a terrible way to jump start a murder mystery.
Poirot travels to a Jazz nightclub where he’s first introduced to Simon, Jacqueline, and Linnet. Poirot spends much of the film embracing his OCD habits and people watching. This first nightclub sequence is about ten minutes long and you’re basically forced to watch people do nothing but dance for that entire time. Armie Hammer’s overly sexual dancing combined with his heavy breathing and constant sweating with both Gal Gadot and Emma Mackey is nauseating even without taking his sexual allegations into consideration.
Nothing really happens in the film for the first hour. Death on the Nile takes its time getting to the murder as little things begin to disappear (like a tube of paint) and Simon and Linnet are nearly crushed to death by a falling rock as they’re practically mid-coitus while sightseeing some pyramids. Emma Mackey gives a particularly strong performance. She is blinded by one-sided love in the film and her performance is a combination of passion, borderline insanity, and a broken heart.
Annette Bening is so cynical that it’s humorous and Jennifer Saunders adds just enough sarcastic bite to remind us ever so slightly of Absolutely Fabulous. Letitia Wright portrays business manager Rosalie Otterbourne. Her performance is intriguing because she’s always fighting for what she feels like she’s rightfully owed; whether it’s the right amount of money for her services or her happiness away from the limelight.
Like Murder on the Orient Express and other Agatha Christie adaptations, the enticing aspect of Death on the Nile is not only its massive and recognizable cast but also the fact that the story is written in a way that everyone is a suspect. The film’s nonchalant way of meandering towards that first murder is frustrating. A deliberate pace is one thing, but Death on the Nile is boring for the most part. Poirot is asked to take a case involving Jacqueline and the safety of Simon and Linnet, but is then mocked for being heartless and not being able to solve the case sooner. The people on board are likely meant to be scared, but come off as rich people not getting what they want the instant they want it.
Death on the Nile crawls towards a resolution you don’t feel invested in. Poirot’s backstory is interesting and there are some solid performances especially from the female cast, but the film otherwise feels like an unwanted game of Guess Who after you unwillingly chug two bottles of NyQuil and are asked to predict who the killer is after two long hours of tediousness.
BankofMarquis (1832 KP) rated Avengers: Infinity War (2018) in Movies
May 5, 2018
Very good "culmination" of the last 10 years of Marvel Films
AVENGERS: INFINITY WAR is the best film in the Marvel Cinematic Universe.
Said to be the culmination of 10 years worth of Marvel films - and Marvel heroes - INFINITY WAR lives up to it's bill, bringing all the Marvel Universe heroes together to fight a "big bad" that is worthy of this sort of thing - THANOS.
Voiced by Josh Brolin, the CGI Thanos is powerful, destructive, razor-focused on his one purpose with moments of "humanity" that makes him an interesting villain. The filmmakers kept his motivation and machinations simple so you are never confused by this bad guy or what he is trying to do. What surprised me is that the filmmakers added another layer to this character that was a nice layer that really added to the character, his motivations and his personality.
As for the band of heroes brought together for this film, it works well. The criticisms I have heard is that no ONE hero stands out, so EVERY hero is in the background. I couldn't disagree more. I thought the evenness of the "screen time" was one of the strengths of this film, not focusing too much on one hero (or heroes), giving all time to shine - and focus on what they do best. There were moments of humor, drama, action and heroism sprinkled across all. But what really thrilled me was the different combinations that were put together, for these heroes all had different missions and assignments and some odd and interesting cross-film dynamics took shape. I won't give any of these away, but I thought they ALL dynamics blended together nicely.
This is definitely a "fan-boy" film, giving service to fans of all these films, characters - and comics and credit for that should go to filmmakers Anthony and Joe Russo (Directors of the previously best film in this series - CAPTAIN AMERICA: THE WINTER SOLDIER) who kept the action moving, the motivations of the participants simple and the effects dazzling.
One final note - this is the first part of a two part film, so it does end in a cliffhanger, one that works effectively well. As always with the Marvel films - but especially in this one - stay through to the end of the credits, the scene at the end of the credits sets up Part 2.
I thoroughly enjoyed my time at this film and can't wait to see the next one.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
Said to be the culmination of 10 years worth of Marvel films - and Marvel heroes - INFINITY WAR lives up to it's bill, bringing all the Marvel Universe heroes together to fight a "big bad" that is worthy of this sort of thing - THANOS.
Voiced by Josh Brolin, the CGI Thanos is powerful, destructive, razor-focused on his one purpose with moments of "humanity" that makes him an interesting villain. The filmmakers kept his motivation and machinations simple so you are never confused by this bad guy or what he is trying to do. What surprised me is that the filmmakers added another layer to this character that was a nice layer that really added to the character, his motivations and his personality.
As for the band of heroes brought together for this film, it works well. The criticisms I have heard is that no ONE hero stands out, so EVERY hero is in the background. I couldn't disagree more. I thought the evenness of the "screen time" was one of the strengths of this film, not focusing too much on one hero (or heroes), giving all time to shine - and focus on what they do best. There were moments of humor, drama, action and heroism sprinkled across all. But what really thrilled me was the different combinations that were put together, for these heroes all had different missions and assignments and some odd and interesting cross-film dynamics took shape. I won't give any of these away, but I thought they ALL dynamics blended together nicely.
This is definitely a "fan-boy" film, giving service to fans of all these films, characters - and comics and credit for that should go to filmmakers Anthony and Joe Russo (Directors of the previously best film in this series - CAPTAIN AMERICA: THE WINTER SOLDIER) who kept the action moving, the motivations of the participants simple and the effects dazzling.
One final note - this is the first part of a two part film, so it does end in a cliffhanger, one that works effectively well. As always with the Marvel films - but especially in this one - stay through to the end of the credits, the scene at the end of the credits sets up Part 2.
I thoroughly enjoyed my time at this film and can't wait to see the next one.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
Rachel King (13 KP) rated Walking Dead (Walker Papers, #4) in Books
Feb 11, 2019
Normally I don't care for zombies in my fantasy literature - the ick factor is just too high for me. (I don't do horror movies, either.) This book is probably the first exception as Joanne disliked them as much as I do. I love that she now as a better sense of what she is doing with her shamanic abilities, and she has even studied a few things related to this so that she is better prepared for future needs. It seems to me that as Joanne better understands the mechanics of what she is doing, the better I, as the reader, can understand them, too.
At the beginning of the book Joanne is dating the mechanic she has nicknamed Thor. I really like the guy and how genuine and honest he is with her, but I feel sorry for him because I know that it is not him that Joanne really wants. She takes him for granted and does not give the relationship any real chance at surviving.
The mess with the cauldron is an interesting bit of folklore that ironically ties back to Ireland, where Joanne's mother comes from. I like also that it introduces some new characters, such as the medium Sonata, and brings back Suzanne Quinley from the first book. Suzanne has got some serious magic of her own, and the courage to use it wisely. This makes me wonder if the author couldn't give her a series of her own in the YA genre. My favorite part of the book is when Suzanne uses her future-seeing abilities and Joanne tunes in. Joanne gets to see all of her possible past, present, and future selves based on alternate choices she could have made throughout her life. This was absolutely fascinating for me because I am always wondering about the "what ifs" with the main characters of the books I read. How I wish more of the books I read would find a way to employ this tactic, heck I would not mind it in real life!
As for loose ends, there are two that really bug me. The first is the outcome of the annoying insurance adjuster, since he just seemed to fall of the radar at the end. The second is Captain Morrison and his ever-evolving relationship with Joanne. He plays a major part at the climax, but the reader does not get to see any sort of personal reaction on Morrison's behalf or his reaction to Joanne's new relationship status. I will just have to wait to see what happens in the next book, Demon Hunts (Walker Papers, Book 5).
At the beginning of the book Joanne is dating the mechanic she has nicknamed Thor. I really like the guy and how genuine and honest he is with her, but I feel sorry for him because I know that it is not him that Joanne really wants. She takes him for granted and does not give the relationship any real chance at surviving.
The mess with the cauldron is an interesting bit of folklore that ironically ties back to Ireland, where Joanne's mother comes from. I like also that it introduces some new characters, such as the medium Sonata, and brings back Suzanne Quinley from the first book. Suzanne has got some serious magic of her own, and the courage to use it wisely. This makes me wonder if the author couldn't give her a series of her own in the YA genre. My favorite part of the book is when Suzanne uses her future-seeing abilities and Joanne tunes in. Joanne gets to see all of her possible past, present, and future selves based on alternate choices she could have made throughout her life. This was absolutely fascinating for me because I am always wondering about the "what ifs" with the main characters of the books I read. How I wish more of the books I read would find a way to employ this tactic, heck I would not mind it in real life!
As for loose ends, there are two that really bug me. The first is the outcome of the annoying insurance adjuster, since he just seemed to fall of the radar at the end. The second is Captain Morrison and his ever-evolving relationship with Joanne. He plays a major part at the climax, but the reader does not get to see any sort of personal reaction on Morrison's behalf or his reaction to Joanne's new relationship status. I will just have to wait to see what happens in the next book, Demon Hunts (Walker Papers, Book 5).
RəX Regent (349 KP) rated We Own the Night (2007) in Movies
Feb 25, 2019
Crime movie for crime movie fans
Contains spoilers, click to show
This is a crime film for crime movie fans. It has it all, from sex, violence, wires and gritty hits. But at its heart is family, here driven by the two leads, Mark Wahlberg and Jequium Phoenix, reunited in yet another of James Grey's films. The tone is dark, with a realistic look as we are taken on trip back to 1988 and a fictional cop family, led by the Deputy Chief Of Police (NYPD) Robert Duvall, who is the father to Wahlberg's up and coming cop, with Phoenix's nightclub manager, who is not a criminal as such, but is a disappointment to his family.
As the trio become embroiled in an organised crime syndicate, they find themselves under a very personal attack and must take down the mob boss to save their lives. The problem with this film is that it plods its way through, lacking enough tension or high key performances to carry, what to me, should have been a taunt screenplay. Instead, it's a bit flat, with Phoenix's trademark sleepy performance. On the other hand, it's quite good, driven by real motivations and characters, is what saves this from 5/10 rating is a fantastically low-key car chase which looked and felt phenomenal, ending with tragedy which would drive the story in a more dubious direction.
Phoenix will end up being granted special dispensation to become a cop in order to track down the mobster, a plot point that I found to be a little far-fetched, though maybe this sort of thing has happened, I don't know but it just tipped the film over the edge of plausibility. I feel that We Own The Night, the motto of the now disbanded NYPD Street Crime Unit, which is headed up here by the fictional Captain Joseph Grusinsky (Wahlberg) thinks very highly of itself as a top quality crime drama, up there with the likes of The Godfather (1972) and Heat (1995), but it is not. It's good and better if you like the genre, but this is a film set in the late 80′s, made in the style of The Godfather light, which was a quintessential 1970′s movie. It needed to pack more of a punch or have some of the style which films such as those of Michael Mann or Martin Scorsese.
A decent story, good cinematography and noble effort but failed to blow me away.
As the trio become embroiled in an organised crime syndicate, they find themselves under a very personal attack and must take down the mob boss to save their lives. The problem with this film is that it plods its way through, lacking enough tension or high key performances to carry, what to me, should have been a taunt screenplay. Instead, it's a bit flat, with Phoenix's trademark sleepy performance. On the other hand, it's quite good, driven by real motivations and characters, is what saves this from 5/10 rating is a fantastically low-key car chase which looked and felt phenomenal, ending with tragedy which would drive the story in a more dubious direction.
Phoenix will end up being granted special dispensation to become a cop in order to track down the mobster, a plot point that I found to be a little far-fetched, though maybe this sort of thing has happened, I don't know but it just tipped the film over the edge of plausibility. I feel that We Own The Night, the motto of the now disbanded NYPD Street Crime Unit, which is headed up here by the fictional Captain Joseph Grusinsky (Wahlberg) thinks very highly of itself as a top quality crime drama, up there with the likes of The Godfather (1972) and Heat (1995), but it is not. It's good and better if you like the genre, but this is a film set in the late 80′s, made in the style of The Godfather light, which was a quintessential 1970′s movie. It needed to pack more of a punch or have some of the style which films such as those of Michael Mann or Martin Scorsese.
A decent story, good cinematography and noble effort but failed to blow me away.