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Chris Sawin (602 KP) rated Black Widow (2021) in Movies
Oct 6, 2021
Florence Pugh (2 more)
The free-fall sequence at the end.
Taskmaster before the mask comes off.
It's way too long. (3 more)
The Taskmaster changes are weak.
It's as if the characters are fighting over who gets to be the comedic relief.
Familiar storyline.
Espionage Exhaustion
Black Widow is a film explaining what Natasha Romanoff (Scarlett Johansson) was up to in-between Captain America: Civil War and Avengers: Infinity War. The film was originally set to be released in May of 2020, but was pushed back and had three different release dates thanks to COVID-19. Unfortunately, most completed films that sit on the shelf and are in limbo for over a year rarely live up to the anticipation. Black Widow is worthwhile for a few key action sequences and notable characters that steal the spotlight, but is otherwise a mostly forgettable superhero film.
Marketed as a superhero film, Black Widow is also a spy thriller. Johansson has stated that films such as Logan, Harrison Ford’s The Fugitive, and Terminator 2: Judgment Day were influences. After Civil War, Thaddeus Ross (William Hurt) is on the hunt for Natasha Romanoff. Women like Natasha who have had similar training in a torturous training facility known as The Red Room are victims to brainwashing by a man named Dreykov (Ray Winstone), but a serum ends up in Natasha’s hands that can break Dreykov’s brainwashing. Natasha begins searching for The Red Room and Dreykov, which also has her crossing paths with other spies that posed as her family members; her “sister” Yelena Belova (Florence Pugh), her “father” Alexai Shostakov (David Harbour), and her “mother” Melina Vostokoff (Rachel Weisz).
The biggest selling point for Black Widow is that it’s a mostly female cast in front of and behind the camera. The film is directed by Cate Shortland and Black Widow is her first big budget feature. It’s also co-written by female screenwriter Jac Schaeffer (uncredited co-screenwriter of Captain Marvel) and Ned Benson (director of The Disappearance of Eleanor Rigby).
Taskmaster is cool in the film until you realize the character has been altered from his comic book origins. This isn’t uncommon in the MCU or even other live-action superhero adaptations, but what the character has become in the film will be received with mixed results. In the comics, Taskmaster’s real identity is Anthony Masters and he’s a mercenary not unlike Deadpool (the two have fought together and against each other). Copying fighting styles and weapon techniques is similar to the film, but it’s all thanks to his incredible memory and photographic reflexes.
The character is altered to fit the story in the Black Widow film. It’s not necessarily a bad thing as it gives a bigger purpose for the character since it suddenly becomes a major part of Natasha’s storyline, but how the character evolves over the course of the film seems to almost relieve Natasha of her past sins rather than continue to serve as a catalyst. Taskmaster is generally involved in some of the best hand-to-hand combat sequences, but seems to be left hanging by the end of the film. We could see the character again, but whether or not the desire is there to see Taskmaster return is debatable.
The free-fall sequence that has been teased in the trailers is Black Widow’s most unique source of action. There’s exploding elements and falling debris, Natasha trying to save someone’s life, and Taskmaster thrown in attempting to mess up whatever she has planned; plus a bunch of goons bringing up the rear that will obviously be taken out in peak fashion. The sequence is like a duel to the death taking place on the edge of a volcano that’s about to erupt. It’s on the verge of being overkill, but is just awesome enough to trigger all of the adrenaline in your body.
Kevin Feige apparently wanted an equal amount of screen time for both Natasha and Yelena. With the after-credits sequence, Natasha being very dead after the events of Infinity War, and the reports that Yelena may be the new Black Widow, she’s essentially the star of the film and for good reason. The character begins as an individual with a chip on her shoulder from someone from her past, but Florence Pugh is able to add humor and empathy with her performance. Yelena has the best one-liners in the film (“That would be a cool way to die,”) and is essentially the best source of comedic relief (i.e. her hysterectomy rant), as well. She is the one character in the film you’d want to see more of after Black Widow ends.
The storyline of Black Widow doesn’t feel like anything you haven’t experienced cinematically before, especially within the confines of the MCU. An evil man is responsible for pulling the strings of a bunch of women that would kick his ass otherwise. Unfortunately, Ray Winstone doesn’t feel all that intimidating as Dreykov since he doesn’t do much besides talk in Black Widow. The point is made in the film that is all there’s really needed of the character, but Dreykov’s biggest weapon is his mouth. However, his verbal skills don’t seem advantageous enough to make him such a threat let alone keep him alive for over 20 years.
It also feels like every MCU film has its on-screen characters competing over who can get the most laughs; this is something that only got worse after Thor: Ragnarok proved to be a success. Marvel films are already so formulaic with most villains being introduced and killed within the confines of a single film. Natasha’s spy family all feel like minor extensions of herself. Rachel Weisz, despite not aging a day in nearly 30 years, is forgettable as Melina. David Harbour is essentially his character from Stranger things cosplaying as Mr. Incredible with a Russian accent. Even Florence Pugh’s Yelena Belova character is basically a blonde younger version of Natasha even though they’re not related by blood.
Black Widow clocks in at over two hours and it feels like a film that could have been edited down. Witnessing the events of a dysfunctional spy family who then spend good chunks of the film reminiscing about those moments the audience has already seen is redundant storytelling that feels like nothing more than filler.
Black Widow is worth seeing for Florence Pugh, the free-fall action sequence, and anything involving Taskmaster before it’s revealed who is under the mask. Everything else about Black Widow feels like it was done better by the films it was supposedly influenced by and mostly feels like a diluted imitation of Captain America: The Winter Soldier. It’s fantastic that women are getting more opportunities in big summer blockbusters like this one, but it’s also disheartening since their filmmaking skills are shackled to formulaic superfluity that obviously stands in the way of creating extraordinary cinema.
Marketed as a superhero film, Black Widow is also a spy thriller. Johansson has stated that films such as Logan, Harrison Ford’s The Fugitive, and Terminator 2: Judgment Day were influences. After Civil War, Thaddeus Ross (William Hurt) is on the hunt for Natasha Romanoff. Women like Natasha who have had similar training in a torturous training facility known as The Red Room are victims to brainwashing by a man named Dreykov (Ray Winstone), but a serum ends up in Natasha’s hands that can break Dreykov’s brainwashing. Natasha begins searching for The Red Room and Dreykov, which also has her crossing paths with other spies that posed as her family members; her “sister” Yelena Belova (Florence Pugh), her “father” Alexai Shostakov (David Harbour), and her “mother” Melina Vostokoff (Rachel Weisz).
The biggest selling point for Black Widow is that it’s a mostly female cast in front of and behind the camera. The film is directed by Cate Shortland and Black Widow is her first big budget feature. It’s also co-written by female screenwriter Jac Schaeffer (uncredited co-screenwriter of Captain Marvel) and Ned Benson (director of The Disappearance of Eleanor Rigby).
Taskmaster is cool in the film until you realize the character has been altered from his comic book origins. This isn’t uncommon in the MCU or even other live-action superhero adaptations, but what the character has become in the film will be received with mixed results. In the comics, Taskmaster’s real identity is Anthony Masters and he’s a mercenary not unlike Deadpool (the two have fought together and against each other). Copying fighting styles and weapon techniques is similar to the film, but it’s all thanks to his incredible memory and photographic reflexes.
The character is altered to fit the story in the Black Widow film. It’s not necessarily a bad thing as it gives a bigger purpose for the character since it suddenly becomes a major part of Natasha’s storyline, but how the character evolves over the course of the film seems to almost relieve Natasha of her past sins rather than continue to serve as a catalyst. Taskmaster is generally involved in some of the best hand-to-hand combat sequences, but seems to be left hanging by the end of the film. We could see the character again, but whether or not the desire is there to see Taskmaster return is debatable.
The free-fall sequence that has been teased in the trailers is Black Widow’s most unique source of action. There’s exploding elements and falling debris, Natasha trying to save someone’s life, and Taskmaster thrown in attempting to mess up whatever she has planned; plus a bunch of goons bringing up the rear that will obviously be taken out in peak fashion. The sequence is like a duel to the death taking place on the edge of a volcano that’s about to erupt. It’s on the verge of being overkill, but is just awesome enough to trigger all of the adrenaline in your body.
Kevin Feige apparently wanted an equal amount of screen time for both Natasha and Yelena. With the after-credits sequence, Natasha being very dead after the events of Infinity War, and the reports that Yelena may be the new Black Widow, she’s essentially the star of the film and for good reason. The character begins as an individual with a chip on her shoulder from someone from her past, but Florence Pugh is able to add humor and empathy with her performance. Yelena has the best one-liners in the film (“That would be a cool way to die,”) and is essentially the best source of comedic relief (i.e. her hysterectomy rant), as well. She is the one character in the film you’d want to see more of after Black Widow ends.
The storyline of Black Widow doesn’t feel like anything you haven’t experienced cinematically before, especially within the confines of the MCU. An evil man is responsible for pulling the strings of a bunch of women that would kick his ass otherwise. Unfortunately, Ray Winstone doesn’t feel all that intimidating as Dreykov since he doesn’t do much besides talk in Black Widow. The point is made in the film that is all there’s really needed of the character, but Dreykov’s biggest weapon is his mouth. However, his verbal skills don’t seem advantageous enough to make him such a threat let alone keep him alive for over 20 years.
It also feels like every MCU film has its on-screen characters competing over who can get the most laughs; this is something that only got worse after Thor: Ragnarok proved to be a success. Marvel films are already so formulaic with most villains being introduced and killed within the confines of a single film. Natasha’s spy family all feel like minor extensions of herself. Rachel Weisz, despite not aging a day in nearly 30 years, is forgettable as Melina. David Harbour is essentially his character from Stranger things cosplaying as Mr. Incredible with a Russian accent. Even Florence Pugh’s Yelena Belova character is basically a blonde younger version of Natasha even though they’re not related by blood.
Black Widow clocks in at over two hours and it feels like a film that could have been edited down. Witnessing the events of a dysfunctional spy family who then spend good chunks of the film reminiscing about those moments the audience has already seen is redundant storytelling that feels like nothing more than filler.
Black Widow is worth seeing for Florence Pugh, the free-fall action sequence, and anything involving Taskmaster before it’s revealed who is under the mask. Everything else about Black Widow feels like it was done better by the films it was supposedly influenced by and mostly feels like a diluted imitation of Captain America: The Winter Soldier. It’s fantastic that women are getting more opportunities in big summer blockbusters like this one, but it’s also disheartening since their filmmaking skills are shackled to formulaic superfluity that obviously stands in the way of creating extraordinary cinema.
Chris Sawin (602 KP) rated The Batman (2022) in Movies
Mar 6, 2022
Paul Dano and Colin Farrell's Performances (2 more)
The Batmobile car chase with Oz
The different/damaged take on Bruce Wayne
Entirely too long - too much detective work (2 more)
Little to no chemistry between The Bat and The Cat
The raspy adventures of Batsy and Jimbo
When is a Bat Not Quite a Bat?
Matt Reeves’ The Batman isn’t an origin story. Instead Bruce Wayne (Robert Pattinson) treats every villain and every thug as if they were the ones to take his parents away from him. This is a version of Bruce Wayne that hates being Bruce Wayne; Batman is his legacy. The tragedy of losing his parents is his most defining characteristic. Bruce is a social hermit and the world’s biggest introvert in The Batman.
The Riddler (Paul Dano) kills Gotham’s mayor on Halloween night and he continues to target key political figures throughout the film. A cryptic riddle is left for Batman at every crime scene revealing just a big enough clue to keep Batman and Jim Gordon (Jeffrey Wright) entangled in Riddler’s enigmatic bloodbath. As Batman crosses paths with a cat-loving thief named Selina Kyle (Zoe Kravitz) and the magnificently sleazy Iceberg Lounge owner Oswald Cobblepot (Colin Farrell), he soon realizes that the Wayne family may be a bigger piece of the puzzle than he originally imagined.
Paul Dano is essentially the highlight of the film. Matt Reeves stated that his inspiration for his version of the character was The Zodiac Killer and it shows. Riddler’s costume is basically a camouflage gimp outfit with tactical advantages and a fetish for duct tape. Dano’s performance is haunting. His riddles are more akin to Jigsaw’s games from the Saw franchise. The character is at his best when he’s showcased in grainy cell phone videos where his shouting and heavy breathing are even more distorted than if he was standing right in front of you. The intriguing aspect is that Dano seems to be even more mesmerizing as the character once he’s unmasked. He’s able to tap into this lunacy, this dread, and this hypnotic terror that defines the character whether he’s hiding his face or not.
Featured less prominently is Colin Farrell as Oswald Cobblepot, who also delivers a fantastic performance. Farrell is so unrecognizable thanks to the facial prosthetics and fat suit that he’s wearing. Some of the aspects of The Penguin that makes him so dangerous is that he’s incredibly resourceful and he can talk his way into and out of just about anything. Farrell’s best moments as the character come during the Batmobile chase featured in the trailer followed by the conversation Batman and Gordon have with him immediately afterwards. You never knew how much you needed a Spanish lesson from Oz until Matt Reeves came along.
The Batmobile car chase is the best sequence of the film. It’s absolutely explosive and worth seeing in a theater. Michael Giacchino’s score is also bold and thrilling; it helps define the Batman character for a new generation with an undeniably epic theme. Matt Reeves compared Bruce Wayne to Kurt Cobain in this film. Bruce’s relationship with the spotlight and how he’d rather stay away from it is a lot like how Cobain viewed being famous. “Something in the Way” by Nirvana fits the Batman universe so well and it’s surprising nobody has ever thought of utilizing it until now.
This unusual version of Bruce Wayne in The Batman makes it feel unlike any other Batman film. Bruce Wayne is typically a playboy that is consistently showcased at public events that flaunts his fortune and bounces from woman to woman on a nightly basis. In The Batman, we see the smudged black eye makeup as Bruce takes off his cowl. Robert Pattinson didn’t bulk up for the role, so he has this pale and gaunt appearance. He has no interest in the business his father left him in charge of. Vengeance is his only purpose.
The Batman is also the first Batman film to actually feel like a detective story. So much time is devoted to the investigation aspect of the film; maybe too much time. The film is five minutes shy of being three hours long and The Batman feels like a three hour film. Some of these sequences feel like they could have been trimmed (did we really need to see Batman or Bruce Wayne go to the Iceberg Lounge so many times?) or cut entirely, but everything feels like it’s part of the bigger picture of capturing The Riddler. Every little stop along the way leads to the next clue or next big encounter. Unfortunately, it feels like a chore listening to Batman answer riddles for the sixth time in the midst of three hours.
Robert Pattinson is a seriously talented actor outside of the Twilight franchise and Zoe Kravitz chooses interesting projects to be a part of, but their chemistry in The Batman feels forced. Batman tracks down Selina Kyle almost like a stalker as he starts inserting himself into her life after a random encounter at The Iceberg Lounge. Despite being friends in real life, the two actors seem stiff and awkward when they’re around each other. These are two versions of the characters that don’t have the history the comics or the movies laid out for them after decades of publication and on screen appearances. This is supposed to be the first time they’ve met and they go from being bumbling partners to nearly leaving Gotham together after being shot at a few times and finding a dead girl in a trunk; it doesn’t make sense.
Matt Reeves was capable of taking The Batman into a different direction for both the Batman universe and superhero films alike. The action sequences are almost earned here as there’s much more down time while following a lead or doing research. You actually see that Bruce documents his inner monologues and his nightly outings as Batman in handwritten journals. There’s a ton of interesting concepts in The Batman that ultimately don’t pay off.
Paul Dano and Colin Farrell are extraordinary, but The Batman is a three hour slog through Gotham that culminates with an over exaggerated riddle that isn’t worth solving. Having Batman and Jim Gordon both speak in raspy, whispery grunts feels excessive as does Gordon’s insistence on calling Batman, “Chief,” every time that they’re together. The film deserves credit for prominently shining the spotlight on the underbelly of crime in Gotham, but the storytelling in The Batman is a lot like Bugs Bunny meaning to have taken that left turn at Albuquerque; a meandering foray down a dark rabbit hole that isn’t entirely necessary.
The Riddler (Paul Dano) kills Gotham’s mayor on Halloween night and he continues to target key political figures throughout the film. A cryptic riddle is left for Batman at every crime scene revealing just a big enough clue to keep Batman and Jim Gordon (Jeffrey Wright) entangled in Riddler’s enigmatic bloodbath. As Batman crosses paths with a cat-loving thief named Selina Kyle (Zoe Kravitz) and the magnificently sleazy Iceberg Lounge owner Oswald Cobblepot (Colin Farrell), he soon realizes that the Wayne family may be a bigger piece of the puzzle than he originally imagined.
Paul Dano is essentially the highlight of the film. Matt Reeves stated that his inspiration for his version of the character was The Zodiac Killer and it shows. Riddler’s costume is basically a camouflage gimp outfit with tactical advantages and a fetish for duct tape. Dano’s performance is haunting. His riddles are more akin to Jigsaw’s games from the Saw franchise. The character is at his best when he’s showcased in grainy cell phone videos where his shouting and heavy breathing are even more distorted than if he was standing right in front of you. The intriguing aspect is that Dano seems to be even more mesmerizing as the character once he’s unmasked. He’s able to tap into this lunacy, this dread, and this hypnotic terror that defines the character whether he’s hiding his face or not.
Featured less prominently is Colin Farrell as Oswald Cobblepot, who also delivers a fantastic performance. Farrell is so unrecognizable thanks to the facial prosthetics and fat suit that he’s wearing. Some of the aspects of The Penguin that makes him so dangerous is that he’s incredibly resourceful and he can talk his way into and out of just about anything. Farrell’s best moments as the character come during the Batmobile chase featured in the trailer followed by the conversation Batman and Gordon have with him immediately afterwards. You never knew how much you needed a Spanish lesson from Oz until Matt Reeves came along.
The Batmobile car chase is the best sequence of the film. It’s absolutely explosive and worth seeing in a theater. Michael Giacchino’s score is also bold and thrilling; it helps define the Batman character for a new generation with an undeniably epic theme. Matt Reeves compared Bruce Wayne to Kurt Cobain in this film. Bruce’s relationship with the spotlight and how he’d rather stay away from it is a lot like how Cobain viewed being famous. “Something in the Way” by Nirvana fits the Batman universe so well and it’s surprising nobody has ever thought of utilizing it until now.
This unusual version of Bruce Wayne in The Batman makes it feel unlike any other Batman film. Bruce Wayne is typically a playboy that is consistently showcased at public events that flaunts his fortune and bounces from woman to woman on a nightly basis. In The Batman, we see the smudged black eye makeup as Bruce takes off his cowl. Robert Pattinson didn’t bulk up for the role, so he has this pale and gaunt appearance. He has no interest in the business his father left him in charge of. Vengeance is his only purpose.
The Batman is also the first Batman film to actually feel like a detective story. So much time is devoted to the investigation aspect of the film; maybe too much time. The film is five minutes shy of being three hours long and The Batman feels like a three hour film. Some of these sequences feel like they could have been trimmed (did we really need to see Batman or Bruce Wayne go to the Iceberg Lounge so many times?) or cut entirely, but everything feels like it’s part of the bigger picture of capturing The Riddler. Every little stop along the way leads to the next clue or next big encounter. Unfortunately, it feels like a chore listening to Batman answer riddles for the sixth time in the midst of three hours.
Robert Pattinson is a seriously talented actor outside of the Twilight franchise and Zoe Kravitz chooses interesting projects to be a part of, but their chemistry in The Batman feels forced. Batman tracks down Selina Kyle almost like a stalker as he starts inserting himself into her life after a random encounter at The Iceberg Lounge. Despite being friends in real life, the two actors seem stiff and awkward when they’re around each other. These are two versions of the characters that don’t have the history the comics or the movies laid out for them after decades of publication and on screen appearances. This is supposed to be the first time they’ve met and they go from being bumbling partners to nearly leaving Gotham together after being shot at a few times and finding a dead girl in a trunk; it doesn’t make sense.
Matt Reeves was capable of taking The Batman into a different direction for both the Batman universe and superhero films alike. The action sequences are almost earned here as there’s much more down time while following a lead or doing research. You actually see that Bruce documents his inner monologues and his nightly outings as Batman in handwritten journals. There’s a ton of interesting concepts in The Batman that ultimately don’t pay off.
Paul Dano and Colin Farrell are extraordinary, but The Batman is a three hour slog through Gotham that culminates with an over exaggerated riddle that isn’t worth solving. Having Batman and Jim Gordon both speak in raspy, whispery grunts feels excessive as does Gordon’s insistence on calling Batman, “Chief,” every time that they’re together. The film deserves credit for prominently shining the spotlight on the underbelly of crime in Gotham, but the storytelling in The Batman is a lot like Bugs Bunny meaning to have taken that left turn at Albuquerque; a meandering foray down a dark rabbit hole that isn’t entirely necessary.
Charlie Cobra Reviews (1840 KP) rated Resident Alien in TV
Apr 14, 2021 (Updated Apr 14, 2021)
Laugh out loud funny (3 more)
Excellent mix of comedy, drama, and sci-fi
Full of unique and different characters
Decent special effects and CGI
Not for everyone kind of show (2 more)
Sometimes the CGI and effects can be lacking
Some characters can be a little annoying at times
A Comedy That's Out Of This World Funny
https://youtu.be/v9iwDu2OP3E
This show is just great and a real treat. I have to admit that I had no idea what I was in store for watching this show and I think that was half the fun of watching it. This show is part mystery and part CSI but also equal parts comedy and drama. It's full of scenes that are laugh out loud funny and some that are quite drama filled and serious in-tone at times. I really like the way it balances them and how each episode gets us a little bit further into the mystery of who killed the town doctor and if anyone is close to finding out the alien's secret identity or his secret mission. The character of the alien; who takes on the name Harry, after the doctor whose identity he steals, Dr. Harry Vanderspiegle, is a pretty funny character. It really shows in how he is trying his best to navigate through everyday situations with no prior knowledge of how or what it is to be human and really understand the subtle nuances of human nature and interaction while having a superiority complex and believing all humans are barely smarter than lizards in his opinion. He is totally oblivious to many things that are second nature to people like sarcasm and sense of humor. There are actually quite a few likeable characters on the show like Asta Twelvetrees played by Sara Tomko who is arguably the heart of the show, a central and integral character and super relatable. She is an important character to "Harry" learning to be more human. Also there's Sheriff Mike who is played by Corey Reynolds and is full of catch-phrases and just ridiculous things he says that are funny as hell. His completely blunt personality and no non-sense approach to crime leaves him to rub people the wrong way but he never apologies for himself or tries to tip-toe around people either. Then there's D'arcy who's played by Alice Wetterlund who is the town's bar owner and ex-Olympic athlete. She's a pretty cool character and quite different from the others and really kind of compliments the other characters by rounding them out. The whole mix of characters in the show are pretty diverse personality wise and how the show revolves around them and it's just a really funny show that's also full of alien sci-fi things going on at the same time but manages to ring through on an emotional level as "Harry" the alien begins to understand more and more about humans. I'll go over more in the spoiler section but I give this show a 8/10 and you should definitely check it out, especially if you are into sci-fi and looking for something that'll make you laugh at the same time too.
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Spoiler Section Review:
This show is just one of those shows that you don't expect for it to be as good as it is. I was really surprised when I saw the first episode and decided that I had to show my brother the first episode too and we actually got our dad into it too. I really like Alan Tudyk and how he not only plays the alien "Harry" but also the actual Dr. Harry Vanderspeigle in the flashbacks that happen as well. He's pretty talented and extremely funny in playing the alien, especially the parts where he's learning how to walk and talk and watching "Law & Order". So the whole thing with the show is that "Harry" is an alien that has crash-landed on Earth before he could finish his mission and is looking for his ship or parts of it that he needs to recover so he can finish his mission. He wakes up and searches the mountainside where he believes it is and pretty much avoids all human contact. That's when things change and the local authorities seek him out because the person whose identity he has taken is a known doctor and they need him to investigate the death of the town doctor. He now has to not only go into town where there are humans everywhere but also interact with them and hope that no one can tell that he's really an alien in disguise. The storytelling, plot and character development in the show are done in such a great way in how it progresses forward but also shows things that occurred earlier in flashbacks and you get to know or see things that make the characters more 3-dimensional and feel more realistic. Harry is very smart for an alien but has no clue when it comes to a lot of the things we take for granted when it comes to being human, things like sarcasm, humor, and more. So his behavior is off-putting but tolerated and accepted for the most part. He reluctantly takes on the job of the town doctor when asked because he doesn't want for anyone to suspect anything which makes it harder for him especially when he learns the Mayor's son Max can see his true identity, something like only one in a million humans might be able to do. The head nurse Asta Twelvetrees make his job easier by assisting him and they bond rather quickly when he takes her up on the offer to go for a drink after work to the local bar. That's where they meet D'arcy the bartender and owner of the bar who is also Asta's best friend and they have fun drinking and dancing and "Harry" drinks heavily to fit in. There's some pretty funny scenes of the alien dancing too. The next day Asta asks "Harry" to help her get somethings from her abusive ex-boyfriend Jimmy's house and "Harry" saves her from him when begins attacking her. He helps her to leave and she confides in him, that she had a child with Jimmy when she was really young but gave it up for adoption as they were too young to take care of it. Like I said in the non-spoiler section this show has a good mix of mystery, comedy and drama and does it in a really good way. Just as it pulls you in one direction like the drama part about Asta's child then it steers you in a completely different direction like comedy again when you find out at the end of the first episode that "Harry's" first patient is Max, the Mayor's son who can see that he's really an alien. I really enjoyed this show and I'm so glad that they decided to renew it for another season and there will be a season 2 coming soon. I liked it so much that I'm actually thinking about checking out the comic books by Dark Horse comics to see how good they are too. Anyways I give this show a 8/10 and can't wait for it to return.
This show is just great and a real treat. I have to admit that I had no idea what I was in store for watching this show and I think that was half the fun of watching it. This show is part mystery and part CSI but also equal parts comedy and drama. It's full of scenes that are laugh out loud funny and some that are quite drama filled and serious in-tone at times. I really like the way it balances them and how each episode gets us a little bit further into the mystery of who killed the town doctor and if anyone is close to finding out the alien's secret identity or his secret mission. The character of the alien; who takes on the name Harry, after the doctor whose identity he steals, Dr. Harry Vanderspiegle, is a pretty funny character. It really shows in how he is trying his best to navigate through everyday situations with no prior knowledge of how or what it is to be human and really understand the subtle nuances of human nature and interaction while having a superiority complex and believing all humans are barely smarter than lizards in his opinion. He is totally oblivious to many things that are second nature to people like sarcasm and sense of humor. There are actually quite a few likeable characters on the show like Asta Twelvetrees played by Sara Tomko who is arguably the heart of the show, a central and integral character and super relatable. She is an important character to "Harry" learning to be more human. Also there's Sheriff Mike who is played by Corey Reynolds and is full of catch-phrases and just ridiculous things he says that are funny as hell. His completely blunt personality and no non-sense approach to crime leaves him to rub people the wrong way but he never apologies for himself or tries to tip-toe around people either. Then there's D'arcy who's played by Alice Wetterlund who is the town's bar owner and ex-Olympic athlete. She's a pretty cool character and quite different from the others and really kind of compliments the other characters by rounding them out. The whole mix of characters in the show are pretty diverse personality wise and how the show revolves around them and it's just a really funny show that's also full of alien sci-fi things going on at the same time but manages to ring through on an emotional level as "Harry" the alien begins to understand more and more about humans. I'll go over more in the spoiler section but I give this show a 8/10 and you should definitely check it out, especially if you are into sci-fi and looking for something that'll make you laugh at the same time too.
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Spoiler Section Review:
This show is just one of those shows that you don't expect for it to be as good as it is. I was really surprised when I saw the first episode and decided that I had to show my brother the first episode too and we actually got our dad into it too. I really like Alan Tudyk and how he not only plays the alien "Harry" but also the actual Dr. Harry Vanderspeigle in the flashbacks that happen as well. He's pretty talented and extremely funny in playing the alien, especially the parts where he's learning how to walk and talk and watching "Law & Order". So the whole thing with the show is that "Harry" is an alien that has crash-landed on Earth before he could finish his mission and is looking for his ship or parts of it that he needs to recover so he can finish his mission. He wakes up and searches the mountainside where he believes it is and pretty much avoids all human contact. That's when things change and the local authorities seek him out because the person whose identity he has taken is a known doctor and they need him to investigate the death of the town doctor. He now has to not only go into town where there are humans everywhere but also interact with them and hope that no one can tell that he's really an alien in disguise. The storytelling, plot and character development in the show are done in such a great way in how it progresses forward but also shows things that occurred earlier in flashbacks and you get to know or see things that make the characters more 3-dimensional and feel more realistic. Harry is very smart for an alien but has no clue when it comes to a lot of the things we take for granted when it comes to being human, things like sarcasm, humor, and more. So his behavior is off-putting but tolerated and accepted for the most part. He reluctantly takes on the job of the town doctor when asked because he doesn't want for anyone to suspect anything which makes it harder for him especially when he learns the Mayor's son Max can see his true identity, something like only one in a million humans might be able to do. The head nurse Asta Twelvetrees make his job easier by assisting him and they bond rather quickly when he takes her up on the offer to go for a drink after work to the local bar. That's where they meet D'arcy the bartender and owner of the bar who is also Asta's best friend and they have fun drinking and dancing and "Harry" drinks heavily to fit in. There's some pretty funny scenes of the alien dancing too. The next day Asta asks "Harry" to help her get somethings from her abusive ex-boyfriend Jimmy's house and "Harry" saves her from him when begins attacking her. He helps her to leave and she confides in him, that she had a child with Jimmy when she was really young but gave it up for adoption as they were too young to take care of it. Like I said in the non-spoiler section this show has a good mix of mystery, comedy and drama and does it in a really good way. Just as it pulls you in one direction like the drama part about Asta's child then it steers you in a completely different direction like comedy again when you find out at the end of the first episode that "Harry's" first patient is Max, the Mayor's son who can see that he's really an alien. I really enjoyed this show and I'm so glad that they decided to renew it for another season and there will be a season 2 coming soon. I liked it so much that I'm actually thinking about checking out the comic books by Dark Horse comics to see how good they are too. Anyways I give this show a 8/10 and can't wait for it to return.
Gareth von Kallenbach (965 KP) rated The Amazing Spider-Man (2012) in Movies
Aug 7, 2019
Initially when a franchise reboots a series not five years from its last installment this can often be seen as a sign that they’ve run out of ideas. It was reportedly the inability to find a suitable script that drove director-producer Sam Raimi and the stars of the Spider-man series away from a possible fourth outing and forced Sony/Columbia start fresh.
Selecting the relatively new Marc Webb who, outside of “500 Days of Summer”, had worked on music videos and most recently directed episode of The Office and the pilot for Lone Star, seemed like a very odd choice to turn over the billion-dollar franchise. The selection of American-born English actor Andrew Garfield also seemed to be an interesting choice to don the tights of the wall crawler.
Thankfully this is exactly the fresh start that the series needed. Even though I went into the film with guarded and reserved expectations I must say that I’m absolutely delighted with how the final product came out as this is a very fresh and faithful adaptation of the beloved comic book character that, in my opinion is the best adaptation to date on film.
The screenplay by James Vanderbilt was based on a story credited to three other writers all of whom clearly understand the character and the source material and are focused first and foremost with being respectful to it rather than putting their own unique stamp and take on the franchise.
The film does take a little bit of liberty by showing Peter Parker’s parents as they place young Peter in the custody of Ben and May Parker (Martin Sheen and Sally Fields) as they flee into a rainy night from implied danger, never to be seen again.
The film continues with teenage Peter (Andrew Garfield), plodding his way through high school. As brilliant as Peter is academically, he is extremely awkward around girls especially the lovely Gwen Stacy (Emma Stone), who never fails to catch his eye. When a clue from his father’s past arises, Peter finds himself at Oscorp where Gwen works as an intern. Peter also finds himself on the radar of his dad’s former partner Dr. Curt Connors (Rhys Ifans), who becomes intrigued by young Peter’s scientific theories and even more so in his abilities when he learns that he is the offspring of his former partner.
Dr. Connors is working on cross species genetics and hopes that not only will it someday replaces missing arm, but will also pave a bold new direction for humanity. During a visit to the lab Peter, is bitten by a radioactive spider, and as any fan of the series knows, begins to exhibit amazing strength, agility, and perception, as well as the ability to walk on walls and cling to ceilings. In a very refreshing return to form, Peter fashions his famous web slingers rather than have them be organic as the previous film series did.
When a twist of fate puts Peter on the path of vengeance, he becomes a masked vigilante who uses his newfound abilities to rid New York some of its less pleasant citizens. These activities do not sit well with Captain Stacy (Denis Leary), who also happens to be Gwen’s father. As Peter and Gwen become closer, the duality of hiding his new identity from Capt. Stacy and Aunt May becomes even more imperative.
Naturally, it would not be much of a superhero film without a super villain, and Dr. Connors is more than willing to step up to this. Faced with pressure from his bosses he decides to use an experimental serum on himself. At first he is delighted as he seems to regrow his lost limb, but then in a Jekyll & Hyde-like transformation he transforms into a gigantic lizard creature bent on revenge and destruction as he attempts to complete a plan that will devastate millions of New York citizens.
Since Peter helped provide the equation that led to the formula that transform Dr. Connors, he feels obligated to stop the raging creature and to save his mentor no matter the cost. What follows are some truly spectacular action sequences including sewer battles in an extremely memorable finale across the Manhattan skyline.
While the film did take its time getting started as it established its back story and introduced the characters, once it got rolling it was an extremely fun and exhilarating ride. Garfield and Stone have a very good chemistry with one another and the reports of them recently dating off screen further solidifies their on-screen bond. Garfield wonderfully captures the conflicted emotions of Peter Parker as well as the brilliantly awkward genius that he is.
He runs the gamut of emotions from showing his anger and frustration to the dopey awkwardness of his interactions with Gwen and very believable manner. When he becomes infused with his new abilities you can almost share the glee that he has as he swings and flips around the landscape. The sheltered, socially awkward young man disappears when he dons the mask. He’s free to let himself go and Garfield does this with a childlike delight as well as the trademark quips and wisecracks that made the character such a beloved icon.
Garfield handles the physical duties of the role quite well and shines both in and out of the costume. I thought Tobey Maguire did a fantastic job bringing the character to life previously, but in my opinion Garfield has captured the essence of Peter Parker/ Spider-man and made it his own with a truly wonderful performance all around.
Stone does a great job as the love interest in the film as she is more than just eye candy and the typical damsel in distress far too common with this type of film. She challenges Peter and you can see some gleeful delight in her eyes when Peter awkwardly stumbles around her in an attempt to ask her out. Because she clearly enjoys the situation Gwen is not about to make it any easier on Peter, even though she’s been waiting for him to muster the courage for ages. She’s a strong and determined woman who gives a good range of emotions in her scenes and complements Garfield exceptionally well.
The supporting cast was very good especially Leary and Fields and Ifans does a good job as the quietly restrained Connors. In what could’ve easily been a scenery chewing, over-the-top Machiavellian bad guy, Ifans portrays Connors as a very sympathetic and understandable figure. He is a scientist first and foremost who is trying to do what he believes is right. He is not suited for the political machinations of a large corporation and when he begins this transformation and the animal side takes over there is still a hint of humanity amongst all the CGI work for the re-imagined Lizard.
While it did take me a while to get used to the look of The Lizard having become accustomed to his portrayal in comics and cartoons, I have to say it was a good updating it still stayed faithful to the essence of the original character.
Webb wisely decided to shoot in 3-D and not do a post filming conversion. It is the visually captivating and at times stunning cinema photography that really sets the tone for the film. You can truly get an idea of what it is like to be Spider-man as he swings and flips through the city and the point of view shots of his web firing out to latch onto objects and take down opponents are a lot of fun. Webb clearly knows the subject matter and gets the most out of his very talented cast and tells a very entertaining yet human action story and lets the effects support the film rather than carry it.
The film was much better than “Spider-man 3”. I am so happy that the franchise is in good hands and is moving forward in the right direction. Although the movie did take a while to get up to speed once it got rolling I did not want it to end, and I commented to my wife that I don’t want to have to wait 2 to 3 years for the next installment of the film I’m ready for more now. As a lifelong fan of comic I can honestly say I am beyond delighted with the new film, cast, director, and direction for the series.
Selecting the relatively new Marc Webb who, outside of “500 Days of Summer”, had worked on music videos and most recently directed episode of The Office and the pilot for Lone Star, seemed like a very odd choice to turn over the billion-dollar franchise. The selection of American-born English actor Andrew Garfield also seemed to be an interesting choice to don the tights of the wall crawler.
Thankfully this is exactly the fresh start that the series needed. Even though I went into the film with guarded and reserved expectations I must say that I’m absolutely delighted with how the final product came out as this is a very fresh and faithful adaptation of the beloved comic book character that, in my opinion is the best adaptation to date on film.
The screenplay by James Vanderbilt was based on a story credited to three other writers all of whom clearly understand the character and the source material and are focused first and foremost with being respectful to it rather than putting their own unique stamp and take on the franchise.
The film does take a little bit of liberty by showing Peter Parker’s parents as they place young Peter in the custody of Ben and May Parker (Martin Sheen and Sally Fields) as they flee into a rainy night from implied danger, never to be seen again.
The film continues with teenage Peter (Andrew Garfield), plodding his way through high school. As brilliant as Peter is academically, he is extremely awkward around girls especially the lovely Gwen Stacy (Emma Stone), who never fails to catch his eye. When a clue from his father’s past arises, Peter finds himself at Oscorp where Gwen works as an intern. Peter also finds himself on the radar of his dad’s former partner Dr. Curt Connors (Rhys Ifans), who becomes intrigued by young Peter’s scientific theories and even more so in his abilities when he learns that he is the offspring of his former partner.
Dr. Connors is working on cross species genetics and hopes that not only will it someday replaces missing arm, but will also pave a bold new direction for humanity. During a visit to the lab Peter, is bitten by a radioactive spider, and as any fan of the series knows, begins to exhibit amazing strength, agility, and perception, as well as the ability to walk on walls and cling to ceilings. In a very refreshing return to form, Peter fashions his famous web slingers rather than have them be organic as the previous film series did.
When a twist of fate puts Peter on the path of vengeance, he becomes a masked vigilante who uses his newfound abilities to rid New York some of its less pleasant citizens. These activities do not sit well with Captain Stacy (Denis Leary), who also happens to be Gwen’s father. As Peter and Gwen become closer, the duality of hiding his new identity from Capt. Stacy and Aunt May becomes even more imperative.
Naturally, it would not be much of a superhero film without a super villain, and Dr. Connors is more than willing to step up to this. Faced with pressure from his bosses he decides to use an experimental serum on himself. At first he is delighted as he seems to regrow his lost limb, but then in a Jekyll & Hyde-like transformation he transforms into a gigantic lizard creature bent on revenge and destruction as he attempts to complete a plan that will devastate millions of New York citizens.
Since Peter helped provide the equation that led to the formula that transform Dr. Connors, he feels obligated to stop the raging creature and to save his mentor no matter the cost. What follows are some truly spectacular action sequences including sewer battles in an extremely memorable finale across the Manhattan skyline.
While the film did take its time getting started as it established its back story and introduced the characters, once it got rolling it was an extremely fun and exhilarating ride. Garfield and Stone have a very good chemistry with one another and the reports of them recently dating off screen further solidifies their on-screen bond. Garfield wonderfully captures the conflicted emotions of Peter Parker as well as the brilliantly awkward genius that he is.
He runs the gamut of emotions from showing his anger and frustration to the dopey awkwardness of his interactions with Gwen and very believable manner. When he becomes infused with his new abilities you can almost share the glee that he has as he swings and flips around the landscape. The sheltered, socially awkward young man disappears when he dons the mask. He’s free to let himself go and Garfield does this with a childlike delight as well as the trademark quips and wisecracks that made the character such a beloved icon.
Garfield handles the physical duties of the role quite well and shines both in and out of the costume. I thought Tobey Maguire did a fantastic job bringing the character to life previously, but in my opinion Garfield has captured the essence of Peter Parker/ Spider-man and made it his own with a truly wonderful performance all around.
Stone does a great job as the love interest in the film as she is more than just eye candy and the typical damsel in distress far too common with this type of film. She challenges Peter and you can see some gleeful delight in her eyes when Peter awkwardly stumbles around her in an attempt to ask her out. Because she clearly enjoys the situation Gwen is not about to make it any easier on Peter, even though she’s been waiting for him to muster the courage for ages. She’s a strong and determined woman who gives a good range of emotions in her scenes and complements Garfield exceptionally well.
The supporting cast was very good especially Leary and Fields and Ifans does a good job as the quietly restrained Connors. In what could’ve easily been a scenery chewing, over-the-top Machiavellian bad guy, Ifans portrays Connors as a very sympathetic and understandable figure. He is a scientist first and foremost who is trying to do what he believes is right. He is not suited for the political machinations of a large corporation and when he begins this transformation and the animal side takes over there is still a hint of humanity amongst all the CGI work for the re-imagined Lizard.
While it did take me a while to get used to the look of The Lizard having become accustomed to his portrayal in comics and cartoons, I have to say it was a good updating it still stayed faithful to the essence of the original character.
Webb wisely decided to shoot in 3-D and not do a post filming conversion. It is the visually captivating and at times stunning cinema photography that really sets the tone for the film. You can truly get an idea of what it is like to be Spider-man as he swings and flips through the city and the point of view shots of his web firing out to latch onto objects and take down opponents are a lot of fun. Webb clearly knows the subject matter and gets the most out of his very talented cast and tells a very entertaining yet human action story and lets the effects support the film rather than carry it.
The film was much better than “Spider-man 3”. I am so happy that the franchise is in good hands and is moving forward in the right direction. Although the movie did take a while to get up to speed once it got rolling I did not want it to end, and I commented to my wife that I don’t want to have to wait 2 to 3 years for the next installment of the film I’m ready for more now. As a lifelong fan of comic I can honestly say I am beyond delighted with the new film, cast, director, and direction for the series.
James P. Sumner (65 KP) rated Joker (2019) in Movies
Oct 7, 2019
An unapologetic masterpiece.
I wasn't sure what to expect going into this film. I'm a huge comic book fan, so the controversy and scepticism surrounding this movie, as well as the fact it's based within an established story world, had me doubting how it would work and how good the execution of it would be.
I certainly didn't expect the film I saw.
The basis for this movie is simple and effective: Arthur Fleck (played with a career-defining performance by Joaquin Phoenix) is a mentally unstable and depressed wannabe stand-up comedian working as a clown in a 1980's Gotham City. The movie is set against a backdrop of civil unrest, worker strikes and city-wide poverty, with each being exaggerated to highlight both the severity of each one for the purposes of the film, but also to shine a spotlight on how tough the real world was back then.
A potentially fatal encounter on a late-night subway acts as a catalyst for Fleck, who is shown throughout the first 20 minutes to be a man living on a knife's edge - balancing his own pitiful existence with the way society believes he should act. You get the sense that it would take nothing more than a gentle push to send him one way or the other. The subway was that push.
In a city that very much reflects the character's state of mind, this served to push more than just Arthur Fleck over the edge. Because he happened to be dressed as a clown at the time, and because the *cough* victims *cough* worked for Wayne Enterprises (ran by Thomas Wayne himself), it's seen by many as a vigilante act - someone standing up to the rich elite. This sparks outrage and rioting across the city. The idea of a man dressed as a clown standing up for the little guy becomes the poster child for a civil movement, much in the styling of "V For Vendetta (2005)".
The more Arthur Fleck struggles personally, the worse the streets of Gotham seem to get, as if society's increasing tension and unrest is somehow linked to his own state of mind. He finally realises what he has inadvertently created and begins to transform himself into the vigilante icon people already believe him to be.
Despite the slow pace of the movie, it never seems to drag. The story of Fleck's inevitable descent unfolds patiently, showing you exactly what it wants you to see, when it wants you to see it. It's a very bold and confident step for a movie which would've known how controversial it was going to be before it was even released.
The style of the film is extremely clever. The soundtrack is little more than a low-frequency hum, which plays almost constantly throughout. The camerawork is also exceptional. In every shot of Arthur Fleck, the camera centres on him before very slowly closing in on him. It's subtle, perhaps only a few millimetres per shot, but it's noticeable enough that you feel yourself being pulled in, being legitimately gripped by what you're watching. This contributes to what is, overall, a claustrophobic and sometimes unnerving experience.
There has been initial controversy about the film, with reports of people leaving the cinema during the screening for varying reasons. You see this from time to time, and the cynic in me thinks this is rarely more than clever marketing tactics. And then you see the comments from people who say they were disgusted or sickened or disturbed or whatever. I usually think it's a load of rubbish. That people are just saying that for attention. I don't honestly believe people who are that easily offended by a movie would choose to see something that is clearly going to show you all the things you don't like.
However, with "Joker (2019)", I can actually understand it. This is a truly disturbing film. Not for the violence, which has been the subject of much debate. There's actually very little violence in the movie, but when it's there, it's pretty graphic, admittedly. But honestly, it's not anywhere near as bad as a lot of things you see nowadays. No, it's disturbing because of how believable Arthur Fleck is. Seeing how unstable he is. Seeing how easy he can choose to do terrible things. It's... uncomfortable to watch at times, but only because it's so well done, so well written, you hate yourself for sympathising with him.
If I had to draw comparisons for this movie, I would have to say it's more subtle than "Watchmen (2009)", it's grittier and darker than "Taxi Driver (1976)" or "Fight Club (1999)" and much more uncompromising and unapologetic than "Natural Born Killers (1994)". It is truly a modern-day masterpiece. There are two major plot twists, both occurring in the second act, which really highlight the genius behind the screenplay. This movie is written perfectly, and executed the same way on-screen by Phoenix, who draws from both Jack Nicholson and Heath Ledger to create this unique take on the character which more than holds its own.
Now, before I summarise, we do need to address the whole... y'know... Batman thing. This is the Joker's origin story, after all.
So, first thing's first: this isn't a comic book movie. Not by a long way. This belongs in the same conversation as Goodfellas, not Guardians of the Galaxy. Director Todd Phillips has even stated that this is simply a stand-alone movie telling a story that needed to be told. Yes, it has references to the DC comic universe (which I will omit here for fear of venturing into spolier territory), but it's unlikely to ever cross over with DC's attempt to mimic the MCU.
The nods to the comics are infrequent but clever, touching on themes and events we already know, and in some cases, re-writing them entirely - which definitely will draw controversy with the hardcore comic fans. For example, I did question why they used the civil unrest subplot and backdrop to essentially try and make Wayne Enterprises the villain of the story, but like it or not, it was necessary and it worked like a charm.
I don't know if this was intentional or not, but there was one scene in particular towards the end of the movie where the Joker (as he is now) is riding in the back of a car with his head leaning against the window. The camera was on the wing mirror, focused on his face, and almost frame-for-frame it reminded me of the iconic scene in "The Dark Knight (2008)" where Heath Ledger's Joker is driving with his head out of the window. I'd like to think this was a gracious tribute to the performance of this character that will never be topped.
For a film that breaks the conventions of story-telling by having no real build-up or climactic ending, I have to say I can't remember a time when I was so blown away, so moved, and so affected by a movie. As close to perfect as you'll see this year.
10/10
A quick side note:
The show "13 Reasons Why" has a disclaimer at the beginning of each series from the cast that essentially warns viewers that, due to the sensitive nature of the content, it's inadvisable to watch it if you're struggling with depression or suicidal thoughts. I genuinely think this film should carry a similar notice. It's a dark, grim, unrelenting journey into one man's depressive life. While I won't ever believe listening to Marilyn Manson can make you want to shoot schoolchildren, I do think that if someone is struggling with suicidal thoughts or depression, this movie probably isn't for them. The story focuses on the media glorifying the terrible acts of someone who is mentally unstable. Yes, it's a movie. It's not real. But for someone in a very bad place themselves, this probably isn't the kind of thing you need to, or should, watch.
I certainly didn't expect the film I saw.
The basis for this movie is simple and effective: Arthur Fleck (played with a career-defining performance by Joaquin Phoenix) is a mentally unstable and depressed wannabe stand-up comedian working as a clown in a 1980's Gotham City. The movie is set against a backdrop of civil unrest, worker strikes and city-wide poverty, with each being exaggerated to highlight both the severity of each one for the purposes of the film, but also to shine a spotlight on how tough the real world was back then.
A potentially fatal encounter on a late-night subway acts as a catalyst for Fleck, who is shown throughout the first 20 minutes to be a man living on a knife's edge - balancing his own pitiful existence with the way society believes he should act. You get the sense that it would take nothing more than a gentle push to send him one way or the other. The subway was that push.
In a city that very much reflects the character's state of mind, this served to push more than just Arthur Fleck over the edge. Because he happened to be dressed as a clown at the time, and because the *cough* victims *cough* worked for Wayne Enterprises (ran by Thomas Wayne himself), it's seen by many as a vigilante act - someone standing up to the rich elite. This sparks outrage and rioting across the city. The idea of a man dressed as a clown standing up for the little guy becomes the poster child for a civil movement, much in the styling of "V For Vendetta (2005)".
The more Arthur Fleck struggles personally, the worse the streets of Gotham seem to get, as if society's increasing tension and unrest is somehow linked to his own state of mind. He finally realises what he has inadvertently created and begins to transform himself into the vigilante icon people already believe him to be.
Despite the slow pace of the movie, it never seems to drag. The story of Fleck's inevitable descent unfolds patiently, showing you exactly what it wants you to see, when it wants you to see it. It's a very bold and confident step for a movie which would've known how controversial it was going to be before it was even released.
The style of the film is extremely clever. The soundtrack is little more than a low-frequency hum, which plays almost constantly throughout. The camerawork is also exceptional. In every shot of Arthur Fleck, the camera centres on him before very slowly closing in on him. It's subtle, perhaps only a few millimetres per shot, but it's noticeable enough that you feel yourself being pulled in, being legitimately gripped by what you're watching. This contributes to what is, overall, a claustrophobic and sometimes unnerving experience.
There has been initial controversy about the film, with reports of people leaving the cinema during the screening for varying reasons. You see this from time to time, and the cynic in me thinks this is rarely more than clever marketing tactics. And then you see the comments from people who say they were disgusted or sickened or disturbed or whatever. I usually think it's a load of rubbish. That people are just saying that for attention. I don't honestly believe people who are that easily offended by a movie would choose to see something that is clearly going to show you all the things you don't like.
However, with "Joker (2019)", I can actually understand it. This is a truly disturbing film. Not for the violence, which has been the subject of much debate. There's actually very little violence in the movie, but when it's there, it's pretty graphic, admittedly. But honestly, it's not anywhere near as bad as a lot of things you see nowadays. No, it's disturbing because of how believable Arthur Fleck is. Seeing how unstable he is. Seeing how easy he can choose to do terrible things. It's... uncomfortable to watch at times, but only because it's so well done, so well written, you hate yourself for sympathising with him.
If I had to draw comparisons for this movie, I would have to say it's more subtle than "Watchmen (2009)", it's grittier and darker than "Taxi Driver (1976)" or "Fight Club (1999)" and much more uncompromising and unapologetic than "Natural Born Killers (1994)". It is truly a modern-day masterpiece. There are two major plot twists, both occurring in the second act, which really highlight the genius behind the screenplay. This movie is written perfectly, and executed the same way on-screen by Phoenix, who draws from both Jack Nicholson and Heath Ledger to create this unique take on the character which more than holds its own.
Now, before I summarise, we do need to address the whole... y'know... Batman thing. This is the Joker's origin story, after all.
So, first thing's first: this isn't a comic book movie. Not by a long way. This belongs in the same conversation as Goodfellas, not Guardians of the Galaxy. Director Todd Phillips has even stated that this is simply a stand-alone movie telling a story that needed to be told. Yes, it has references to the DC comic universe (which I will omit here for fear of venturing into spolier territory), but it's unlikely to ever cross over with DC's attempt to mimic the MCU.
The nods to the comics are infrequent but clever, touching on themes and events we already know, and in some cases, re-writing them entirely - which definitely will draw controversy with the hardcore comic fans. For example, I did question why they used the civil unrest subplot and backdrop to essentially try and make Wayne Enterprises the villain of the story, but like it or not, it was necessary and it worked like a charm.
I don't know if this was intentional or not, but there was one scene in particular towards the end of the movie where the Joker (as he is now) is riding in the back of a car with his head leaning against the window. The camera was on the wing mirror, focused on his face, and almost frame-for-frame it reminded me of the iconic scene in "The Dark Knight (2008)" where Heath Ledger's Joker is driving with his head out of the window. I'd like to think this was a gracious tribute to the performance of this character that will never be topped.
For a film that breaks the conventions of story-telling by having no real build-up or climactic ending, I have to say I can't remember a time when I was so blown away, so moved, and so affected by a movie. As close to perfect as you'll see this year.
10/10
A quick side note:
The show "13 Reasons Why" has a disclaimer at the beginning of each series from the cast that essentially warns viewers that, due to the sensitive nature of the content, it's inadvisable to watch it if you're struggling with depression or suicidal thoughts. I genuinely think this film should carry a similar notice. It's a dark, grim, unrelenting journey into one man's depressive life. While I won't ever believe listening to Marilyn Manson can make you want to shoot schoolchildren, I do think that if someone is struggling with suicidal thoughts or depression, this movie probably isn't for them. The story focuses on the media glorifying the terrible acts of someone who is mentally unstable. Yes, it's a movie. It's not real. But for someone in a very bad place themselves, this probably isn't the kind of thing you need to, or should, watch.
Ryan Hill (152 KP) rated Man of Steel (2013) in Movies
May 21, 2019
"It's not an s on my world it means hope"
Superman's origin has been retold in comics more than any other character. But how do you reboot such a beloved icon in film form without making his origin feel unnecessary to go through again. By handing him over to the masters of all reboots. While developing the story for The Dark Knight Rises, Director Christopher Nolan and writer David S. Goyer developed a new way to bring the man of steel to life. The duo previously saved Batman and made him a cinematic legend again and now they plan to save Superman from uneven sequels and a stale image. And who did they invite to lead this revival? None other than director Zack Snyder, a visual wizard with a lackluster reputation in storytelling thanks to his remake of Dawn of the Dead, 300, Watchmen and Sucker Punch. Now despite some filmmaking stumbles along the way, the trio make for a surprisingly great combination and deliver the modern Superman film we have waited 75 years for with Man of Steel. We are given both Superman and a Clark Kent who doesn't know his place in the world and is coming to terms with how the public perceives him.
As with all Superman mythology the story begins on Krypton, the planet that's hundreds of thousands of civilized years ahead of Earth. The whole planet is science fiction nirvana. The zooming spaceships, winged beast and advanced technology crafted from liquid metal. For once we experience the entire planet, not just a couple rooms made out of cheap crystal. There's a system of ways things work that has never been fleshed out on screen before. The government, the science and it's culture. At the head of the planet's scientific research is Jor-El (Russell Crowe) and he has discovered proof that may lead to the planet's destruction. But unfortunately his pleas towards his leaders are ignored due to the ongoing civil war with Jor-El's old friend General Zod (Michael Shannon). There's more history to the Jor-El/ Zod dynamic this time around which just enriches their conflict. There are millions of stories concerning Marlon Brando's $3 million dollar slumming in the '78 film. He intentionally mispronounced Krypton, made outrageous production demands and in the end that put him on the cutting room floor for it's sequel. Crowe see's Brando's paycheck acting and raises it with a performance full of gravitas. When conflicts begin to soften and punishments are served, more and more evidence begin to support Jor-El's claims of Krypton's destruction and with time and options exhausted, his final resort is to save his only son Kal-El. Still an infant, Jor-El concludes the only way his son will ever have any chance of life is to be sent to a more primitive alien planet and have a significant advantage over it's species. So he sends him to Earth, where it's sun will grant his body incredible abilities.
Jump 33 years later as the adult Kal-El, now under the name Clark Kent (Henry Cavil) is wandering the world trying to discover his place in it. There are multiple flashbacks to Clark's childhood with his adoptive parents Jonathan and Martha Kent (Kevin Costner and Diane Lane). Costner gives a heartfelt performance full of warmth as the father concerned with his son's well-being if the world rejects him. If someone with Clark's abilities were to be exposed to the public, it would be one of the biggest moments in human history. His existence alone would make everyone question religion, science and everything they had ever thought about the universe. And Lane strikes quiet, charming notes as the more understanding mother. Throughout his entire life Clark had been using his powers in secret, from saving derrick workers from fires to fighting a massive hurricane in his hometown of Smallville. If there's one word to describe Cavil's performance it's "Modern". He is not the "Aw shucks" farm boy nor is he the angst filled mess many feared he was going to be. There's still a humbleness, a sweetness and a sense of forthrightness to him. And of course he is a perfect physical representation of the character as well. As much as Christopher Reeve's performance still means to audiences today, it has reached a point where it has unfairly overshadowed the character. The idealism of Reeve's Superman isn't relevant today, at least not in the purest sense of the word. Cavil's Superman understands the difficulty of what his powers mean for the world and understands there really isn't anything to smile about.
Of course you can't tell a Superman story without his supporting players at the Daily Planet. Perry White (Laurence Fishburne, in an inspired piece of casting) knows the only way a newspaper could ever have hope at functioning these days is if they had major exclusives to the first alien ever revealed to the masses. Enter Lois Lane (Amy Adams, full of spunk) who has been chasing Clark's story all across the globe for several years. Lois has always been a tricky character to adapt, seeing how it's difficult for audiences to like her if you get it wrong. Can somebody who can't see Superman past a pair of thick glasses really be a Pulitzer Prize winning journalist? Thankfully, this Lois isn't as Shrill as Margot Kidder or as bland as Kate Bosworth in previous versions. Snyder and Adams treat Lois as the talented, dedicated journalist we know she really is by making her active at her profession and not having to prove anything just because she's a woman. The only thing she has to prove are her credentials, which are just as impressive as everything else about her. While some might be disappointed by the lack of romance between the couple, but to be fair, this isn't a Lois and Clark story, it's the story of Clark discovering his place in the world. But the spark between the two of them is certainly present when they first meet. For Clark to go from a lifetime of loneliness to have somebody instantly discover everything about you and admiring all of it is a luxury he has never had before.
Clark couldn't have picked a better time to make his presence known to the world, with General Zod returning to finish what he started. The cinematic Superman villains have created a history of scenery chewing performances dating back to Gene Hackman's Lex Luthor. Terrence Stamp was the first actor to portray Zod on film in Superman ll, but despite some memorable dialogue ("Kneel before Zod!") he was still essentially just a typical mustache twirling maniac. Zod this time around is nothing but bold tactics and is fully fledged to preserving his lost race, no matter what the cost. Michael Shannon is nothing but pure, demented megalomania. The only disadvantage Zod possesses though is that his body isn't used to the yellow son and must try and control all his new powers at once. Clark on the other hand, has had a lifetime to perfect his gifts.
Visual aesthetics have leaped skyscrapers since the Donner era. Snyder takes that technological advantage and gives fans what they have dreamed of for years. To put it bluntly, to see Supes punch somebody- really fucking hard! Snyder understands all of Superman's abilities and test them on the grandest scale imaginable. And he does so without resorting to his trademark slow-mo sequences and putting macho fantasies on display. In terms of action alone this is the first time the character has been given justice. Even as bombastic or repetitive it occasionally becomes, it can easily be forgiven because the character has been so overdue for it. It is unfortunate that cinematographer Amir Morki captures it all in a rather unpolished handheld style. But at least Snyder's chaotic direction finally seems to have a sense of aim and isn't relying on green screen to tell his stories. It may have to do with the influence of Nolan producing, but the end result is gloriously flashy, gritty and contains a well needed sense of gravity. And while Man of Steel never reaches the same dizzying heights as Nolan's Dark Knight trilogy, it still preserves and reintroduces it's legendary character in the same respect.
Snyder, Nolan and Goyer certainly have stayed true to the modern lore of Superman by adapting elements of his classic comic stories Birthright, Man for All Seasons, New Krypton and Earth One, and do so without damaging or over-explaining any of it. But if anything it's a science fiction story first then a comic book adaptation, in the vein of such first contact films as the original Day the Earth Stood Still and War of the Worlds. Man of Steel reminds us that Superman is not human, but still represents the best that humanity has to offer. It's the story of fathers, understanding your roots and taking hold of your destiny. It's always been that way for Superman, ever since he was created by young Jewish immigrants Jerry Siegel and Joe Shuster.
While the original theme music by John Williams is still the granddaddy of all superhero cinematic anthems, Hans Zimmer still creates a thunderous pulse of a score. Atmospheric, gentle and adrenaline charged, Zimmer accompanies Clark's drifting, the concerns of his parents and Superman's clashes with one perfect note after another.
Christopher Reeve for many people is still going to be the definitive Superman, but that's too be expected. For so long that's all we've had to go on as far as a great man of steel. There are multiple generations separating Reeve and Cavil and multiple generations separating their audiences. Will everyone accept Cavil as this modern Superman that understands today's humanity? As with Batman Begins, the conclusion doesn't technically set itself up for a sequel but it establishes an iconic part of it's universe in a nice wink that makes you want to see more of it. It isn't quite perfect, but this universe certainly deserved to grow. Because unlike what occurred in 2006, this time Superman really has returned.
As with all Superman mythology the story begins on Krypton, the planet that's hundreds of thousands of civilized years ahead of Earth. The whole planet is science fiction nirvana. The zooming spaceships, winged beast and advanced technology crafted from liquid metal. For once we experience the entire planet, not just a couple rooms made out of cheap crystal. There's a system of ways things work that has never been fleshed out on screen before. The government, the science and it's culture. At the head of the planet's scientific research is Jor-El (Russell Crowe) and he has discovered proof that may lead to the planet's destruction. But unfortunately his pleas towards his leaders are ignored due to the ongoing civil war with Jor-El's old friend General Zod (Michael Shannon). There's more history to the Jor-El/ Zod dynamic this time around which just enriches their conflict. There are millions of stories concerning Marlon Brando's $3 million dollar slumming in the '78 film. He intentionally mispronounced Krypton, made outrageous production demands and in the end that put him on the cutting room floor for it's sequel. Crowe see's Brando's paycheck acting and raises it with a performance full of gravitas. When conflicts begin to soften and punishments are served, more and more evidence begin to support Jor-El's claims of Krypton's destruction and with time and options exhausted, his final resort is to save his only son Kal-El. Still an infant, Jor-El concludes the only way his son will ever have any chance of life is to be sent to a more primitive alien planet and have a significant advantage over it's species. So he sends him to Earth, where it's sun will grant his body incredible abilities.
Jump 33 years later as the adult Kal-El, now under the name Clark Kent (Henry Cavil) is wandering the world trying to discover his place in it. There are multiple flashbacks to Clark's childhood with his adoptive parents Jonathan and Martha Kent (Kevin Costner and Diane Lane). Costner gives a heartfelt performance full of warmth as the father concerned with his son's well-being if the world rejects him. If someone with Clark's abilities were to be exposed to the public, it would be one of the biggest moments in human history. His existence alone would make everyone question religion, science and everything they had ever thought about the universe. And Lane strikes quiet, charming notes as the more understanding mother. Throughout his entire life Clark had been using his powers in secret, from saving derrick workers from fires to fighting a massive hurricane in his hometown of Smallville. If there's one word to describe Cavil's performance it's "Modern". He is not the "Aw shucks" farm boy nor is he the angst filled mess many feared he was going to be. There's still a humbleness, a sweetness and a sense of forthrightness to him. And of course he is a perfect physical representation of the character as well. As much as Christopher Reeve's performance still means to audiences today, it has reached a point where it has unfairly overshadowed the character. The idealism of Reeve's Superman isn't relevant today, at least not in the purest sense of the word. Cavil's Superman understands the difficulty of what his powers mean for the world and understands there really isn't anything to smile about.
Of course you can't tell a Superman story without his supporting players at the Daily Planet. Perry White (Laurence Fishburne, in an inspired piece of casting) knows the only way a newspaper could ever have hope at functioning these days is if they had major exclusives to the first alien ever revealed to the masses. Enter Lois Lane (Amy Adams, full of spunk) who has been chasing Clark's story all across the globe for several years. Lois has always been a tricky character to adapt, seeing how it's difficult for audiences to like her if you get it wrong. Can somebody who can't see Superman past a pair of thick glasses really be a Pulitzer Prize winning journalist? Thankfully, this Lois isn't as Shrill as Margot Kidder or as bland as Kate Bosworth in previous versions. Snyder and Adams treat Lois as the talented, dedicated journalist we know she really is by making her active at her profession and not having to prove anything just because she's a woman. The only thing she has to prove are her credentials, which are just as impressive as everything else about her. While some might be disappointed by the lack of romance between the couple, but to be fair, this isn't a Lois and Clark story, it's the story of Clark discovering his place in the world. But the spark between the two of them is certainly present when they first meet. For Clark to go from a lifetime of loneliness to have somebody instantly discover everything about you and admiring all of it is a luxury he has never had before.
Clark couldn't have picked a better time to make his presence known to the world, with General Zod returning to finish what he started. The cinematic Superman villains have created a history of scenery chewing performances dating back to Gene Hackman's Lex Luthor. Terrence Stamp was the first actor to portray Zod on film in Superman ll, but despite some memorable dialogue ("Kneel before Zod!") he was still essentially just a typical mustache twirling maniac. Zod this time around is nothing but bold tactics and is fully fledged to preserving his lost race, no matter what the cost. Michael Shannon is nothing but pure, demented megalomania. The only disadvantage Zod possesses though is that his body isn't used to the yellow son and must try and control all his new powers at once. Clark on the other hand, has had a lifetime to perfect his gifts.
Visual aesthetics have leaped skyscrapers since the Donner era. Snyder takes that technological advantage and gives fans what they have dreamed of for years. To put it bluntly, to see Supes punch somebody- really fucking hard! Snyder understands all of Superman's abilities and test them on the grandest scale imaginable. And he does so without resorting to his trademark slow-mo sequences and putting macho fantasies on display. In terms of action alone this is the first time the character has been given justice. Even as bombastic or repetitive it occasionally becomes, it can easily be forgiven because the character has been so overdue for it. It is unfortunate that cinematographer Amir Morki captures it all in a rather unpolished handheld style. But at least Snyder's chaotic direction finally seems to have a sense of aim and isn't relying on green screen to tell his stories. It may have to do with the influence of Nolan producing, but the end result is gloriously flashy, gritty and contains a well needed sense of gravity. And while Man of Steel never reaches the same dizzying heights as Nolan's Dark Knight trilogy, it still preserves and reintroduces it's legendary character in the same respect.
Snyder, Nolan and Goyer certainly have stayed true to the modern lore of Superman by adapting elements of his classic comic stories Birthright, Man for All Seasons, New Krypton and Earth One, and do so without damaging or over-explaining any of it. But if anything it's a science fiction story first then a comic book adaptation, in the vein of such first contact films as the original Day the Earth Stood Still and War of the Worlds. Man of Steel reminds us that Superman is not human, but still represents the best that humanity has to offer. It's the story of fathers, understanding your roots and taking hold of your destiny. It's always been that way for Superman, ever since he was created by young Jewish immigrants Jerry Siegel and Joe Shuster.
While the original theme music by John Williams is still the granddaddy of all superhero cinematic anthems, Hans Zimmer still creates a thunderous pulse of a score. Atmospheric, gentle and adrenaline charged, Zimmer accompanies Clark's drifting, the concerns of his parents and Superman's clashes with one perfect note after another.
Christopher Reeve for many people is still going to be the definitive Superman, but that's too be expected. For so long that's all we've had to go on as far as a great man of steel. There are multiple generations separating Reeve and Cavil and multiple generations separating their audiences. Will everyone accept Cavil as this modern Superman that understands today's humanity? As with Batman Begins, the conclusion doesn't technically set itself up for a sequel but it establishes an iconic part of it's universe in a nice wink that makes you want to see more of it. It isn't quite perfect, but this universe certainly deserved to grow. Because unlike what occurred in 2006, this time Superman really has returned.
5 Minute Movie Guy (379 KP) rated X-Men: Days of Future Past (2014) in Movies
Jun 26, 2019
This is the X-Men movie you've always hoped for. (3 more)
James McAvoy and Michael Fassbender further prove they are worthy successors to Patrick Stewart and Ian McKellan.
The action and special effects are brilliantly executed and undeniably satisfying.
An effective and engaging story with commendable performances all around.
This is what most superhero movies should strive to emulate. X-Men: Days of Future Past is a miraculous, thrilling, and rewarding experience that you’ll want to see again and again.
The future in X-Men: Days of Future Past is more desolate than ever. Mutants are being hunted to extinction, with the few remaining survivors living together as refugees as they try to escape their all-too-certain fate of captivity or death. They are hunted by Sentinels, versatile and powerful machines programmed to locate and imprison any and all mutants, as well as any humans that attempt to help them. The entire world has been transformed into an apocalyptic dystopia at the mercy of these machines. In order to prevent their inevitable demise, the mutants devise a plan that will rewrite the course of history by telepathically sending the consciousness of one of their own back in time in order to stop the Sentinels from ever rising to power. Doing so means averting the assassination of their designer, Dr. Bolivar Trask, and accomplishing this will require the disbanded X-Men crew to put aside their differences and reunite for a common goal; to save the fate of mutants.
X-Men: Days of Future Past is personally only the second X-Men film that I have seen, and I believe that’s to my disadvantage when watching it. That’s not to say the film isn’t accessible to people that are unfamiliar with X-Men, but you will certainly get the most out of it if you’ve seen the other films, or at least are somewhat knowledgeable about the super mutant group. Fortunately for me, even though I haven’t seen the original X-Men trilogy, nor the Wolverine spin-off films, I saw plenty of the popular X-Men cartoon of the ‘90s when growing up, and probably read more than a handful of the comics. Therefore I felt right at home with the story, even when it quickly thrusts the audience right into the thick of the action. I can imagine newcomers might at times feel a little overwhelmed, especially with such a wide array of unique characters, and so much going on. Although I do believe that the film manages to very effectively balance the action and characters, and create an immensely entertaining and engaging experience regardless of your history with X-Men.
I think it speaks of the true power and quality of the film when I say that after watching X-Men: Days of Future Past, I am now eager to watch all of the other entries in the movie series. Not only to help myself better understand the numerous references to past films, but because the film is so good and so expertly made that I don’t want to miss anything else. Make no mistake, X-Men: Days of Future Past is not only one of the best superhero movies ever made, it’s also the perfect homage to the X-Men. The film merges the two timelines seamlessly, combining the legendary cast of the original trilogy with the equally impressive cast of X-Men: First Class. It ties everything together so well and concludes in such an extraordinary manner that I would feel perfectly content if they ended the X-Men series entirely with Days of Future Past. While I don’t expect the already announced X-Men: Apocalypse (2016) to be able to top this one, I will admit that I am still more than excited to see what they have in store for the future.
Days of Future Past has an incredible, star-studded cast. It brings back the beloved X-Men stars of old, highlighted by Hugh Jackman as Wolverine, as well as with Patrick Stewart and Ian McKellan reprising their roles as Professor X and Magneto. In addition, it includes the cast of X-Men: First Class, with James McAvoy and Michael Fassbender playing younger versions of Professor X and Magneto, while Jennifer Lawrence returns as Mystique. The more substantial newcomers include Game of Thrones star Peter Dinklage as Trask, the creator of the Sentinels, and Evan Peters, playing a teenage Quicksilver. Despite the film having a large number of characters, it doesn’t feel like any of them get the short end of the stick. While some of them may not get much screen-time, Days of Future Past still gives you a solid display of what each of the mutants are capable of. It’s a truly wonderful thing to be able to witness the new era of X-Men actors in the same film as their older counterparts, and it makes it all the more apparent just how remarkably well-cast McAvoy and Fassbender are for their roles. These two young stars in particular have especially large shoes to fill, but they each do an exceptional job. The way in which the film combines the young actors with the old makes it feel as though it’s honoring a proper passing of the torch from one generation to the next.
This action-packed film features some great acting performances, and even though there are a lot of characters, I don’t believe there is a single weak performance among them. The real star of the show is James McAvoy as young Charles Xavier, otherwise known as Professor X. McAvoy nails the inner-conflict of his character in what is surely the most demanding role of the movie. He portrays a convincing struggle of a great man who has lost his way and fallen into despair and desolation. He is a man torn apart by the tension between his feelings of compassion and his guilt-ridden capitulation. Fassbender, on the contrary, is unnerving and yet engrossing as the magnificent Magneto. I personally loved the way in which his character continuously throws a wrench into everyone’s plans by opting to take an alternative and selfish approach. I found him to be notably riveting during a tense scene that takes place on an airplane, where Fassbender really demonstrates his talent. Then of course, there’s everybody’s favorite mutant, Wolverine. Hugh Jackman’s Wolverine is wonderfully enthralling, insanely ripped, and appropriately arrogant. Jackman has turned Wolverine into a career-defining role. There is no doubt about it, he is Wolverine, and no one will ever do it better. Meanwhile, everybody’s favorite actress, Jennifer Lawrence, adds an emotional and memorable performance as Mystique. Lastly, newcomer Evan Peters is a real-stand out as Quicksilver, in a performance that surely will become an instant fan favorite. His big scene alone makes me wish I had seen the movie in 3D, and in fact, the movie is so good that I just might do that. The stellar cast of X-Men: Days of Future Past hit all the right notes, making the characters memorable, and personable.
The action in Days of Future Past is simply phenomenal. This is what most superhero movies should strive to emulate. What I admire most about the action of this film is that it’s smart. It’s well-thought-out and well-executed. It never feels derivative, nor uninspired. Everything has its purpose and has a tangible weight to it. Rather than cluttering the film with unnecessary action pieces, it instead focuses on making its important action sequences really memorable and really good. It also handles its use of violence extremely well, making it powerful and satisfying, without making it feel sugarcoated because of its PG-13 rating. The movie’s score is suitably powerful, helping to escalate the action and establish a tense, grandiose ambiance. The special effects seen here are outstanding. This is a big upgrade over First Class, not only in visual quality, but certainly also in scale. It reaches an epic level and yet it never hinders in quality or takes any shortcuts. It shows you what you want to see, and does it better than you’d ever expect. The result is a movie that’s as visually remarkable as it is entertaining. The true enemies of Days of Future Past, the Sentinels, look awesome. I don’t know how they looked in the older movies, if they’re even present at all, but I never liked their appearance in the comic books. I’m glad they’ve been completely reimagined from their original design, and I love how the movie demonstrates their ability to adapt to make them more efficient mutant-killing machines. The character Beast also looks better than ever, unlike in First Class where his appearance was embarrassingly bad, and borderline laughable. In X-Men: Days of Future Past, everything looks stellar. You won’t want to look away as you’re sitting on the edge of your seat in sheer delight.
The majority of the film is set in the 1970s, taking place after the events of X-Men: First Class, as the Vietnam War is coming to an end. Considering that the film deals with themes of discrimination, it’s fitting that this setting coincides with the Civil Rights movement, even though it’s not explicitly referenced. This was a time in American history when the country was divided, and it offers a strong parallel to the grim, segregated world depicted in the film’s present-day wasteland. The story of Days of Future Past is rather dark, dealing with an apocalyptic future fueled by fear, jealousy and hatred. Although, it still has its fair share of laughs, thanks to the always charming Wolverine and the lightning fast Quicksilver. The movie does an admirable job in recreating the ‘70s, and additionally with juggling the different time periods, while maintaining a steady, coherent pace. However, as much as I enjoyed the ending, I must say that using time travel as a method to clean up a series’ loose ends seems a little cheap, but it’s entirely forgivable given just how beautifully it all comes together. X-Men: Days of Future Past is ultimately a miraculous, thrilling, and rewarding experience that you’ll want to see again and again.
X-Men: Days of Future Past embodies everything I love about movies. It has great action, unforgettable characters, an engaging story, top-notch special effects, and a nice healthy dose of comedy, while never feeling unoriginal or insignificant. I really believe this movie is every X-Men fan’s dream come true. To be honest, I have never considered myself much of an X-Men fan. Now that I’ve seen Days of Future Past, I’m an X-Men fan for life.
(This review was originally posted at 5mmg.com on 5.26.14.)
X-Men: Days of Future Past is personally only the second X-Men film that I have seen, and I believe that’s to my disadvantage when watching it. That’s not to say the film isn’t accessible to people that are unfamiliar with X-Men, but you will certainly get the most out of it if you’ve seen the other films, or at least are somewhat knowledgeable about the super mutant group. Fortunately for me, even though I haven’t seen the original X-Men trilogy, nor the Wolverine spin-off films, I saw plenty of the popular X-Men cartoon of the ‘90s when growing up, and probably read more than a handful of the comics. Therefore I felt right at home with the story, even when it quickly thrusts the audience right into the thick of the action. I can imagine newcomers might at times feel a little overwhelmed, especially with such a wide array of unique characters, and so much going on. Although I do believe that the film manages to very effectively balance the action and characters, and create an immensely entertaining and engaging experience regardless of your history with X-Men.
I think it speaks of the true power and quality of the film when I say that after watching X-Men: Days of Future Past, I am now eager to watch all of the other entries in the movie series. Not only to help myself better understand the numerous references to past films, but because the film is so good and so expertly made that I don’t want to miss anything else. Make no mistake, X-Men: Days of Future Past is not only one of the best superhero movies ever made, it’s also the perfect homage to the X-Men. The film merges the two timelines seamlessly, combining the legendary cast of the original trilogy with the equally impressive cast of X-Men: First Class. It ties everything together so well and concludes in such an extraordinary manner that I would feel perfectly content if they ended the X-Men series entirely with Days of Future Past. While I don’t expect the already announced X-Men: Apocalypse (2016) to be able to top this one, I will admit that I am still more than excited to see what they have in store for the future.
Days of Future Past has an incredible, star-studded cast. It brings back the beloved X-Men stars of old, highlighted by Hugh Jackman as Wolverine, as well as with Patrick Stewart and Ian McKellan reprising their roles as Professor X and Magneto. In addition, it includes the cast of X-Men: First Class, with James McAvoy and Michael Fassbender playing younger versions of Professor X and Magneto, while Jennifer Lawrence returns as Mystique. The more substantial newcomers include Game of Thrones star Peter Dinklage as Trask, the creator of the Sentinels, and Evan Peters, playing a teenage Quicksilver. Despite the film having a large number of characters, it doesn’t feel like any of them get the short end of the stick. While some of them may not get much screen-time, Days of Future Past still gives you a solid display of what each of the mutants are capable of. It’s a truly wonderful thing to be able to witness the new era of X-Men actors in the same film as their older counterparts, and it makes it all the more apparent just how remarkably well-cast McAvoy and Fassbender are for their roles. These two young stars in particular have especially large shoes to fill, but they each do an exceptional job. The way in which the film combines the young actors with the old makes it feel as though it’s honoring a proper passing of the torch from one generation to the next.
This action-packed film features some great acting performances, and even though there are a lot of characters, I don’t believe there is a single weak performance among them. The real star of the show is James McAvoy as young Charles Xavier, otherwise known as Professor X. McAvoy nails the inner-conflict of his character in what is surely the most demanding role of the movie. He portrays a convincing struggle of a great man who has lost his way and fallen into despair and desolation. He is a man torn apart by the tension between his feelings of compassion and his guilt-ridden capitulation. Fassbender, on the contrary, is unnerving and yet engrossing as the magnificent Magneto. I personally loved the way in which his character continuously throws a wrench into everyone’s plans by opting to take an alternative and selfish approach. I found him to be notably riveting during a tense scene that takes place on an airplane, where Fassbender really demonstrates his talent. Then of course, there’s everybody’s favorite mutant, Wolverine. Hugh Jackman’s Wolverine is wonderfully enthralling, insanely ripped, and appropriately arrogant. Jackman has turned Wolverine into a career-defining role. There is no doubt about it, he is Wolverine, and no one will ever do it better. Meanwhile, everybody’s favorite actress, Jennifer Lawrence, adds an emotional and memorable performance as Mystique. Lastly, newcomer Evan Peters is a real-stand out as Quicksilver, in a performance that surely will become an instant fan favorite. His big scene alone makes me wish I had seen the movie in 3D, and in fact, the movie is so good that I just might do that. The stellar cast of X-Men: Days of Future Past hit all the right notes, making the characters memorable, and personable.
The action in Days of Future Past is simply phenomenal. This is what most superhero movies should strive to emulate. What I admire most about the action of this film is that it’s smart. It’s well-thought-out and well-executed. It never feels derivative, nor uninspired. Everything has its purpose and has a tangible weight to it. Rather than cluttering the film with unnecessary action pieces, it instead focuses on making its important action sequences really memorable and really good. It also handles its use of violence extremely well, making it powerful and satisfying, without making it feel sugarcoated because of its PG-13 rating. The movie’s score is suitably powerful, helping to escalate the action and establish a tense, grandiose ambiance. The special effects seen here are outstanding. This is a big upgrade over First Class, not only in visual quality, but certainly also in scale. It reaches an epic level and yet it never hinders in quality or takes any shortcuts. It shows you what you want to see, and does it better than you’d ever expect. The result is a movie that’s as visually remarkable as it is entertaining. The true enemies of Days of Future Past, the Sentinels, look awesome. I don’t know how they looked in the older movies, if they’re even present at all, but I never liked their appearance in the comic books. I’m glad they’ve been completely reimagined from their original design, and I love how the movie demonstrates their ability to adapt to make them more efficient mutant-killing machines. The character Beast also looks better than ever, unlike in First Class where his appearance was embarrassingly bad, and borderline laughable. In X-Men: Days of Future Past, everything looks stellar. You won’t want to look away as you’re sitting on the edge of your seat in sheer delight.
The majority of the film is set in the 1970s, taking place after the events of X-Men: First Class, as the Vietnam War is coming to an end. Considering that the film deals with themes of discrimination, it’s fitting that this setting coincides with the Civil Rights movement, even though it’s not explicitly referenced. This was a time in American history when the country was divided, and it offers a strong parallel to the grim, segregated world depicted in the film’s present-day wasteland. The story of Days of Future Past is rather dark, dealing with an apocalyptic future fueled by fear, jealousy and hatred. Although, it still has its fair share of laughs, thanks to the always charming Wolverine and the lightning fast Quicksilver. The movie does an admirable job in recreating the ‘70s, and additionally with juggling the different time periods, while maintaining a steady, coherent pace. However, as much as I enjoyed the ending, I must say that using time travel as a method to clean up a series’ loose ends seems a little cheap, but it’s entirely forgivable given just how beautifully it all comes together. X-Men: Days of Future Past is ultimately a miraculous, thrilling, and rewarding experience that you’ll want to see again and again.
X-Men: Days of Future Past embodies everything I love about movies. It has great action, unforgettable characters, an engaging story, top-notch special effects, and a nice healthy dose of comedy, while never feeling unoriginal or insignificant. I really believe this movie is every X-Men fan’s dream come true. To be honest, I have never considered myself much of an X-Men fan. Now that I’ve seen Days of Future Past, I’m an X-Men fan for life.
(This review was originally posted at 5mmg.com on 5.26.14.)