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Joe Goodhart (27 KP) rated Rocket: The Blue River Score in Books
Nov 30, 2020
I have to confess: I went into this one with low expectations, largely due to trying to read the previous Rocket outing, Matthew Rosenberg's ROCKET RACCOON: GROUNDED! That book was just depressing as hell, and every character in it just felt wholly out-of-character, as if Rosenberg no flarking clue as to who the characters actually were and how they were SUPPOSED to behave! Fortunately, my pre-"low expectations" were ill-placed, as Trash Panda's outing was as far from the depressing wreck that Rosenberg churned out!
Yes, first and foremost, it was a Rocket Raccoon story, but it was also so much more. It felt not unlike SMOKIN' ACES or SNATCH...only on another planet, with aliens and an augmented raccoon! Writer Al Ewing is clearly a fan of pulp noir novels, and it shows throughout. Ah, if only Marvel would realize what a great film this mini would make!
If you like the wise-cracking, sometimes edgy wit of RR - basically, the RR of the MCU - then this is a book for you! Rocket has a great scheme in here, as well as some good intentions, all of which amounts to a double-cross and an ending that effectively resolves everything with a somewhat bittersweet ending. Bravo, Mr. Ewing! I truly hope Marvel lets him helm another RR solo mini!
And, if that does happen, allowed for another Ewing-helmed outing with RR, I hope that brings along artist Adam Gorham and colorist Michael Garland. Those two brought this fun li'l space heist to life ever so well! I was a big fan of Sara Pichelli's GOTG art for Rocket, but as good as she was, I feel these two were just as good, if not better! Definitely artists (and colorists) to keep an eye out for!
End of the day, you could do a whole lot worse that reading ROCKET: THE BLUE RIVE SCORE. *cough* CIVIL WAR II *cough* Bendis' ALL-NEW X-MEN run *cough cough*
Yes, first and foremost, it was a Rocket Raccoon story, but it was also so much more. It felt not unlike SMOKIN' ACES or SNATCH...only on another planet, with aliens and an augmented raccoon! Writer Al Ewing is clearly a fan of pulp noir novels, and it shows throughout. Ah, if only Marvel would realize what a great film this mini would make!
If you like the wise-cracking, sometimes edgy wit of RR - basically, the RR of the MCU - then this is a book for you! Rocket has a great scheme in here, as well as some good intentions, all of which amounts to a double-cross and an ending that effectively resolves everything with a somewhat bittersweet ending. Bravo, Mr. Ewing! I truly hope Marvel lets him helm another RR solo mini!
And, if that does happen, allowed for another Ewing-helmed outing with RR, I hope that brings along artist Adam Gorham and colorist Michael Garland. Those two brought this fun li'l space heist to life ever so well! I was a big fan of Sara Pichelli's GOTG art for Rocket, but as good as she was, I feel these two were just as good, if not better! Definitely artists (and colorists) to keep an eye out for!
End of the day, you could do a whole lot worse that reading ROCKET: THE BLUE RIVE SCORE. *cough* CIVIL WAR II *cough* Bendis' ALL-NEW X-MEN run *cough cough*
LeftSideCut (3778 KP) rated Captain America: The Winter Soldier (2014) in Movies
Oct 15, 2020
This first sequel to Captain America: The First Avenger is everything a sequel should be. It has bigger and better set pieces, it has a bigger emotional centre, it brings in already established MCU characters and introduces new ones, and is arguably one of the best entries into the MCU to date.
Chris Evans does nothing more than tighten his grip around his most famous role. He joins Robert Downey Jr. in the category of irreplaceable actors for these characters.
Scarlett Johansson is once again great as Black Widow, and newcomer Anthony Mackie as Sam Wilson/Falcon provides Cap with a likeable new ally. The three of them as a sort of mini Avengers in this movie are fantastic.
Sebastian Stan plays The Winter Soldier with aplomb, and gives us a truly dangerous antagonist. The dude is fucking terrifying, yet his relationship with Steve Rogers gives us the heart of this movie. It's a tragic story which of course will be further explored in Civil War further down the line.
The cast is rounded off with Samuel L. Jackson returning as Nick Fury, Robert Redford as Alexander Pierce, Emily VanCamp as Agent 13, Frank Grillo as Brock Rumlow, and some smaller roles for Cobie Smulders and Hayley Atwell.
It's a really solid cast all in all, an area that Marvel Studios rarely missteps.
The set pieces are hugely high octane and thrilling. The opening scene on the barge is a highlight, as well as the teams fight with the Winter Soldier midway through. Even Nick Fury gets a banger of an action sequence. Also, this film boasts probably the biggest plot twist gut punch in the whole MCU with the SHIELD/Hydra reveal. It's an extremely well crafted, ballsy narrative that impacts the shape of the MCU going forward.
There's honestly nothing bad to say about this one. It's top tier comic book cinema.
Chris Evans does nothing more than tighten his grip around his most famous role. He joins Robert Downey Jr. in the category of irreplaceable actors for these characters.
Scarlett Johansson is once again great as Black Widow, and newcomer Anthony Mackie as Sam Wilson/Falcon provides Cap with a likeable new ally. The three of them as a sort of mini Avengers in this movie are fantastic.
Sebastian Stan plays The Winter Soldier with aplomb, and gives us a truly dangerous antagonist. The dude is fucking terrifying, yet his relationship with Steve Rogers gives us the heart of this movie. It's a tragic story which of course will be further explored in Civil War further down the line.
The cast is rounded off with Samuel L. Jackson returning as Nick Fury, Robert Redford as Alexander Pierce, Emily VanCamp as Agent 13, Frank Grillo as Brock Rumlow, and some smaller roles for Cobie Smulders and Hayley Atwell.
It's a really solid cast all in all, an area that Marvel Studios rarely missteps.
The set pieces are hugely high octane and thrilling. The opening scene on the barge is a highlight, as well as the teams fight with the Winter Soldier midway through. Even Nick Fury gets a banger of an action sequence. Also, this film boasts probably the biggest plot twist gut punch in the whole MCU with the SHIELD/Hydra reveal. It's an extremely well crafted, ballsy narrative that impacts the shape of the MCU going forward.
There's honestly nothing bad to say about this one. It's top tier comic book cinema.
The Evangelicals: The Struggle to Shape America
1.0
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Book
This groundbreaking book from Pulitzer Prize–winning historian Frances FitzGerald is the first...
History Religion
Outlandish Knight: The Byzantine Life of Steven Runciman
Book
'An extraordinary book ... exceptionally fascinating, always readable and penetratingly intelligent'...
Biography
Sweet As Broken Dates: Lost Somali Tapes from the Horn of Africa by Various Artists
1.0
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Album Watch
In 1988, on the eve of a two decade civil war, Somalia's authoritarian ruler Siad Barre launched...
world pop compilation
Ryan Hill (152 KP) rated The Last Samurai (2003) in Movies
Jun 23, 2019
" I will tell you, how he lived"
The honour and code of the samurai has always been enticing to a Western civilisation that is far removed from such customs, which perhaps makes The Last Samurai such an enticing, enigmatic film. Edward Zwick crafts quite an epic adventure rich in mythology & thematic resonance that while traditionally Hollywood in its construction still manages to exist a cut above many such movies of its ilk, a touch of class surrounding how the story of Captain Nathan Algren is put together, based as it is on several real life legendary American figures who played key roles in the Satsuma Rebellion in Japan during the late 19th century. This isn't a direct re-telling of those events but serves as a leaping off point to construct a tale about a stranger in a strange land, of a man haunted by fighting an unjust war who rediscovers his honour & place in the world through a dying culture. Zwick's film is slick, sweeping, beautifully shot and frequently involving, backed up by a strong performance by Tom Cruise in one of those roles that remind you just what a good actor he can be.
In the role of Algren, Cruise begins a dejected man living out of a bottle, bereft of purpose & suffering post-Civil War nightmares of a man touted as a hero despite feeling the guilt of slaughtering Indians crushed under the might of a military machine; in that sense, The Last Samurai is very anti-war in its message, John Logan's story painting the Americans and specifically the Imperialist Japanese not in the greatest light. Cruise takes Algren on a traditional voyage of discovery, first pitted against the samurai code & eventually becoming consumed by it, consumed by the similarity of the way of the warrior between both cultures - and Ken Watanabe's dignified samurai 'rebel' Katsumoto learns from him, as well as the other way around, with Cruise remaining stoic & only getting flashes of a chance to display the usual Cruise charm, but that's OK - Algren isn't the kind of character to benefit from that, Cruise's natural magnetism is enough here. Wit is provided thankfully through, albeit briefly, Billy Connolly as a tough old Irish veteran & chiefly Timothy Spall as our portly 'narrator' of sorts, who serves to help mythologise Algren & the legend itself. Zwick is most concerned with that, you see, the idea of legends and how men become them, exploring that concept alongside digging into the cultural rituals and practises of a changing Japan.
Algren's story is placed at a time when the old ways of Japan were shifting, under the pressures of global politics & business; the Emperor here is a naive young man, sitting on an empty throne, looking to Watanabe for validation as his advisor's push to quash a rebellion fighting to preserve the old ways, preserve Japanese interests as America knocks on the door. That's why Cruise's role here is so interesting, his character learning of the samurai code & helping those around him remember their history, and Zwick explores well the concept of national identity alongside personal ideas of myth, legend & destiny. It all boils together in a careful script, never overblown, which neatly develops the relationships involved & helps you fully believe Algren's transformation into the eponymous 'last samurai'. Along the way, Zwick doesn't forget theatrics - staging plenty of well staged & intense fight scenes which utilise the strong Japanese production design, before building to a quite epic war climax with army pitted against army, with personal stakes cutting through it, backed up indeed by another superlative score by Hans Zimmer. It becomes more than just a historical swords & armour film, reaching deeper on several levels.
What could have been a slow paced, potentially ponderous movie is avoided well by Edward Zwick, who with The Last Samurai delivers one of the stronger historical adventure epics of recent years. Beautifully shot in many places, with some excellent cinematography & production standards, not to mention an impressive script well acted in particular by Tom Cruise & Ken Watanabe, Zwick creates a recognisably Hollywood picture but for once a movie that doesn't dumb down, doesn't pander and ultimately serves as an often involving, often damn well made story. Especially one to check out if you love the way of the samurai.
In the role of Algren, Cruise begins a dejected man living out of a bottle, bereft of purpose & suffering post-Civil War nightmares of a man touted as a hero despite feeling the guilt of slaughtering Indians crushed under the might of a military machine; in that sense, The Last Samurai is very anti-war in its message, John Logan's story painting the Americans and specifically the Imperialist Japanese not in the greatest light. Cruise takes Algren on a traditional voyage of discovery, first pitted against the samurai code & eventually becoming consumed by it, consumed by the similarity of the way of the warrior between both cultures - and Ken Watanabe's dignified samurai 'rebel' Katsumoto learns from him, as well as the other way around, with Cruise remaining stoic & only getting flashes of a chance to display the usual Cruise charm, but that's OK - Algren isn't the kind of character to benefit from that, Cruise's natural magnetism is enough here. Wit is provided thankfully through, albeit briefly, Billy Connolly as a tough old Irish veteran & chiefly Timothy Spall as our portly 'narrator' of sorts, who serves to help mythologise Algren & the legend itself. Zwick is most concerned with that, you see, the idea of legends and how men become them, exploring that concept alongside digging into the cultural rituals and practises of a changing Japan.
Algren's story is placed at a time when the old ways of Japan were shifting, under the pressures of global politics & business; the Emperor here is a naive young man, sitting on an empty throne, looking to Watanabe for validation as his advisor's push to quash a rebellion fighting to preserve the old ways, preserve Japanese interests as America knocks on the door. That's why Cruise's role here is so interesting, his character learning of the samurai code & helping those around him remember their history, and Zwick explores well the concept of national identity alongside personal ideas of myth, legend & destiny. It all boils together in a careful script, never overblown, which neatly develops the relationships involved & helps you fully believe Algren's transformation into the eponymous 'last samurai'. Along the way, Zwick doesn't forget theatrics - staging plenty of well staged & intense fight scenes which utilise the strong Japanese production design, before building to a quite epic war climax with army pitted against army, with personal stakes cutting through it, backed up indeed by another superlative score by Hans Zimmer. It becomes more than just a historical swords & armour film, reaching deeper on several levels.
What could have been a slow paced, potentially ponderous movie is avoided well by Edward Zwick, who with The Last Samurai delivers one of the stronger historical adventure epics of recent years. Beautifully shot in many places, with some excellent cinematography & production standards, not to mention an impressive script well acted in particular by Tom Cruise & Ken Watanabe, Zwick creates a recognisably Hollywood picture but for once a movie that doesn't dumb down, doesn't pander and ultimately serves as an often involving, often damn well made story. Especially one to check out if you love the way of the samurai.
Just Send Me Word: A True Story of Love and Survival in the Gulag
Book
From Orlando Figes, international bestselling author of A People's Tragedy, Just Send Me Word is the...
Mordheim: Warband Skirmish
Games
App
Explore the ruins of the City of Mordheim, clash with other scavenging warbands and collect...
Eddie's Bastard
Book
In this rich, deeply resonant literary debut, twenty-eight-year-old William Kowalski explores the...
fiction literary fiction contemporary American
The History of the Jews
Book
The History Of The Jews: From The Earliest Period Down To Modern Times, In Three Volumes. (Vol. 3)...