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Lucy Buglass (45 KP) rated The Disaster Artist (2017) in Movies
Jun 20, 2019
“Ha ha ha! What a film, Mark!”
I was first introduced to The Room during a college Film Studies lecture as a perfect example of how not to make a film. Everything about it was atrocious, but I also found it weirdly compelling. Since then, I’ve made a real effort to follow everything relating to Tommy Wiseau and this bizarre film of his. It’s become a cult classic in recent years, drawing a crowd of dedicated fans to the Prince Charles Cinema in Leicester Square for monthly screenings, and Q&A’s with cast members. When I found out that James Franco was creating a film adaptation of Greg Sestero’s novel The Disaster Artist: My Life Inside The Room, the Greatest Bad Movie Ever Made, I was so excited!
I was lucky enough to see the film during its opening weekend at the Prince Charles Cinema, which actually made my experience even better. Being around a crowd of The Room fans who knew the film like the back of their hand was hilarious, because they recited familiar quotes along with James Franco, and it was clear the entire audience was having a blast from start to finish. I honestly can’t remember the last time I laughed this much at a film. Everyone involved made a real effort to recreate the scenes that we know and love, whilst giving us a glimpse into what life on that film set was really like. It’s possible to forget that you’re watching The Disaster Artist and not The Room at times, because the performances are so spot on.
Once again, James Franco’s ability to take a real life person and bring them to life on a screen shone through. I always refer to his performance as Aron Ralston in 127 Hours as one of his best, but his portrayal of Tommy Wiseau certainly comes a close second. He nails the mannerisms, the accent, and that weird laugh that Wiseau has become well known for. You can tell he has dedicated a lot of time and effort to the project, and it’s paid off. Praise must also be given to the rest of the cast for perfectly emulating the characters. Josh Hutcherson as Denny was amazing; even when he was just sitting there that ridiculous wig was enough to make the audience cry with laughter, and Seth Rogen’s script supervisor character delivers these amazing one liners that show his frustration at Tommy’s ridiculous ideas.
Whilst clearly hilarious, this film is not without its fair share of tragedy, mainly around Dave Franco’s character Greg Sestero. His friendship with Tommy required him to make huge, unimaginable sacrifices both professionally and personally, ultimately causing a rift between the two. Greg is a classic example of a man chasing the allure of fame, and failing miserably. You can’t help but sympathise with him as he tries his best to keep those around him happy whilst trying to attain life changing career goals. The film also shows a darker side to Tommy Wiseau, as he treats the cast and crew around him very badly. He’s so wrapped up in bringing The Room, his “real Hollywood movie”, to life that he neglects the needs of those around him. There are some highly charged emotional moments in this film, which are perfectly balanced with the comedic moments. Without these serious scenes, the film just wouldn’t have been the same.
The Disaster Artist is a must-watch for fans of The Room, and those who want to learn more about the utter chaos that happened on set. It’s funny, intense, emotional and a one of a kind experience from start to finish. Make sure you sit tight until after the credits too, as there’s an extra scene that you don’t want to miss!
https://lucygoestohollywood.com/2017/12/04/ha-ha-ha-what-a-film-mark-a-review-of-the-disaster-artist/
I was lucky enough to see the film during its opening weekend at the Prince Charles Cinema, which actually made my experience even better. Being around a crowd of The Room fans who knew the film like the back of their hand was hilarious, because they recited familiar quotes along with James Franco, and it was clear the entire audience was having a blast from start to finish. I honestly can’t remember the last time I laughed this much at a film. Everyone involved made a real effort to recreate the scenes that we know and love, whilst giving us a glimpse into what life on that film set was really like. It’s possible to forget that you’re watching The Disaster Artist and not The Room at times, because the performances are so spot on.
Once again, James Franco’s ability to take a real life person and bring them to life on a screen shone through. I always refer to his performance as Aron Ralston in 127 Hours as one of his best, but his portrayal of Tommy Wiseau certainly comes a close second. He nails the mannerisms, the accent, and that weird laugh that Wiseau has become well known for. You can tell he has dedicated a lot of time and effort to the project, and it’s paid off. Praise must also be given to the rest of the cast for perfectly emulating the characters. Josh Hutcherson as Denny was amazing; even when he was just sitting there that ridiculous wig was enough to make the audience cry with laughter, and Seth Rogen’s script supervisor character delivers these amazing one liners that show his frustration at Tommy’s ridiculous ideas.
Whilst clearly hilarious, this film is not without its fair share of tragedy, mainly around Dave Franco’s character Greg Sestero. His friendship with Tommy required him to make huge, unimaginable sacrifices both professionally and personally, ultimately causing a rift between the two. Greg is a classic example of a man chasing the allure of fame, and failing miserably. You can’t help but sympathise with him as he tries his best to keep those around him happy whilst trying to attain life changing career goals. The film also shows a darker side to Tommy Wiseau, as he treats the cast and crew around him very badly. He’s so wrapped up in bringing The Room, his “real Hollywood movie”, to life that he neglects the needs of those around him. There are some highly charged emotional moments in this film, which are perfectly balanced with the comedic moments. Without these serious scenes, the film just wouldn’t have been the same.
The Disaster Artist is a must-watch for fans of The Room, and those who want to learn more about the utter chaos that happened on set. It’s funny, intense, emotional and a one of a kind experience from start to finish. Make sure you sit tight until after the credits too, as there’s an extra scene that you don’t want to miss!
https://lucygoestohollywood.com/2017/12/04/ha-ha-ha-what-a-film-mark-a-review-of-the-disaster-artist/
Midge (525 KP) rated Mr Penumbra's 24-hour Bookstore in Books
Dec 24, 2018
A wonderful novel, and a must-read for bibliophiles and techies (2 more)
Hilarious and very genuine lead character
Cleverly written
Imaginative And Optimistic!
I love this book. It's a refreshing, pleasant, imaginative and optimistic book about friendship and the lure of the mysterious, and among other things, it's about a bookstore! It's a definite must-read for all bibliophiles.
Mr Penumbra's 24-Hour Bookstore begins with Clay Jannon, an out-of-work web designer who has found employment at a 24-hour bookstore located in San Francisco. Although the store has very few customers, he meets a variety of strange people that frequent the shop, but who rarely buy anything. However, they borrow mysteriously coded volumes, known as the "Waybacklist," most of which are hand-made, from a secret corner of the store. His curiosity sets him on a strange journey to try to find out more about the "Waybacklist," of ancient, esoteric books.
When they make an exchange from the "Waybacklist," Clay must record transaction details into an old logbook, including personal information about each customer, such as their appearance and state of mind. When the shop is empty, Clay busies himself by creating a computerised model of the bookstore in 3D. By identifying each of his customers by a different colour in the model, he is able to see a pattern developing and becomes convinced that the customers and Penumbra himself are members of a secret cult.
With two computer geek friends, one an old school friend, Neel, and the other a potential customer he met in the bookstore, Kat, who becomes his girlfriend, Clay sets out on a quest to learn the carefully kept secrets of the bookstore. When they bring their findings to Mr Penumbra, they discover the bookstore's secrets extend further than they ever imagined.
Clay, the main character, is exactly the kind of lead you want in this type of novel. He is constantly clueless though he tries hard, he is absolutely hilarious and very genuine. There are many different secondary characters regularly being introduced, but the book is so cleverly written that they never seem unnecessary. There is a lot of different levels of interaction between them, that I really liked.
There is an amazing use of different technologies in this book, however despite all the Google, Amazon, Kindle and the computer references, the true emphasis of the novel is on the people, and that is why I found the book so charming and bewitching. The younger characters are keen and enthusiastic, and you can identify with their search for connection and knowledge. The mix of foisty old books and cutting-edge technology is captivating.
If you prefer villains in your novels then this book is not for you. There is no evil in this book, and everyone that the narrator meets becomes a friend. I couldn't really guess how this book would end but I loved the way the story was concluded. The following quote is actually the last paragraph in the book, but it describes the mystery and the wonder of the whole book, to perfection.
"A man walking fast down a dark lonely street. Quick steps and hard breathing, all wonder and need. A bell above a door and the tinkle it makes. A clerk and a ladder and warm golden light, and then: the right book exactly, at exactly the right time."
Enthralling and fun to read, this novel, with its unique twists and turns of plot, left me feeling very satisfied.
Mr Penumbra's 24-Hour Bookstore has inspired me to read other novels by Robin Sloan.
Mr Penumbra's 24-Hour Bookstore begins with Clay Jannon, an out-of-work web designer who has found employment at a 24-hour bookstore located in San Francisco. Although the store has very few customers, he meets a variety of strange people that frequent the shop, but who rarely buy anything. However, they borrow mysteriously coded volumes, known as the "Waybacklist," most of which are hand-made, from a secret corner of the store. His curiosity sets him on a strange journey to try to find out more about the "Waybacklist," of ancient, esoteric books.
When they make an exchange from the "Waybacklist," Clay must record transaction details into an old logbook, including personal information about each customer, such as their appearance and state of mind. When the shop is empty, Clay busies himself by creating a computerised model of the bookstore in 3D. By identifying each of his customers by a different colour in the model, he is able to see a pattern developing and becomes convinced that the customers and Penumbra himself are members of a secret cult.
With two computer geek friends, one an old school friend, Neel, and the other a potential customer he met in the bookstore, Kat, who becomes his girlfriend, Clay sets out on a quest to learn the carefully kept secrets of the bookstore. When they bring their findings to Mr Penumbra, they discover the bookstore's secrets extend further than they ever imagined.
Clay, the main character, is exactly the kind of lead you want in this type of novel. He is constantly clueless though he tries hard, he is absolutely hilarious and very genuine. There are many different secondary characters regularly being introduced, but the book is so cleverly written that they never seem unnecessary. There is a lot of different levels of interaction between them, that I really liked.
There is an amazing use of different technologies in this book, however despite all the Google, Amazon, Kindle and the computer references, the true emphasis of the novel is on the people, and that is why I found the book so charming and bewitching. The younger characters are keen and enthusiastic, and you can identify with their search for connection and knowledge. The mix of foisty old books and cutting-edge technology is captivating.
If you prefer villains in your novels then this book is not for you. There is no evil in this book, and everyone that the narrator meets becomes a friend. I couldn't really guess how this book would end but I loved the way the story was concluded. The following quote is actually the last paragraph in the book, but it describes the mystery and the wonder of the whole book, to perfection.
"A man walking fast down a dark lonely street. Quick steps and hard breathing, all wonder and need. A bell above a door and the tinkle it makes. A clerk and a ladder and warm golden light, and then: the right book exactly, at exactly the right time."
Enthralling and fun to read, this novel, with its unique twists and turns of plot, left me feeling very satisfied.
Mr Penumbra's 24-Hour Bookstore has inspired me to read other novels by Robin Sloan.
Darren (1599 KP) rated The Black Hole (1979) in Movies
Nov 22, 2019
Thoughts on The Black Hole
Characters – Dr Hans Reinhardt has been living on this ship alone for years, he has perfected energy harvesting which could help Earth, but has spent his time waiting on the edge of a black hole for somebody to find him, so he can continue to build his army and have witnesses to his desire to travel through one, he is welcoming to guest, while he speech could make him come off like a cult leader, always looking to recruit. Dr Alex Durant is one of the crew that is willing to listen to science over anything else, he quickly starts to see the positives in Hans’ plan looking to accept the idea he has created hoping to remain with him on the ship. Captain Dan Holland is quick to start looking around the ship, learning things aren’t always what they seem, he does what he can to make it look like the crew are following the instructions, but is always looking for the quickest way to safely get his crew off the ship. Charles Pizer is the weapons expert, he isn’t afraid to run into a battle, but he could find himself getting in trouble more often than not. Dr Kate McCrae has seen her father vanish off this ship, she has a connection with the robot which makes her valuable when it comes to dealing with situations that arise. Harry Booth is the engineer who has been worried about everything on board for too long, now he will cause the panic when he doesn’t need to. Vincent is the robot that is always going to help his crew, he isn’t scared of getting into confrontation.
Performances – Maximilian Schell in the lead villainous role does help us believe he can control people on everything in his genius mind. Anthony Perkins does well making see how easily somebody can turn to believe everything. Robert Forster does make for a great captain through the film, while the rest of the cast all work well with each other.
Story – The story here follows a research space travelling crew that discover a block hole and a ship on the edge, only to learn that the man living on the ship is the only one on the ship and he has bigger plans for his genius idea. This is a story that plays into the ideas of space travel that could see a black hole being one of the biggest problems. We see how one person could become made with power and how other could be torn between following him or escaping from him, leading to the crew needing to try and escape before they become his latest victims. This is one that could be something truly special and for the time it most likely was, but we have seen it done so many times through the years and is much better.
Action/Sci-Fi – The action is typical sci-fi action, we have laser guns, explosions and destruction on the ship, it isn’t anything overly fancy, but does what it needs to.
Settings – The film is set on the spaceship which shows the wide corridors and rooms that would be important to long distance space travel.
Special Effects – The effects in the film would have been great for the time, while some of the effects might have dated, they still get the peril over when the meteor strikes.
Scene of the Movie – The Meteor roll.
That Moment That Annoyed Me – Harry’s decision.
Final Thoughts – This is a sci-fi film that could have been the first of its type, it opened us up to an idea that could be faced by many if they went into space one day, even if the story seems to have been used a lot more in the future.
Overall: Ground Breaking Sci-Fi.
Rating
Characters – Dr Hans Reinhardt has been living on this ship alone for years, he has perfected energy harvesting which could help Earth, but has spent his time waiting on the edge of a black hole for somebody to find him, so he can continue to build his army and have witnesses to his desire to travel through one, he is welcoming to guest, while he speech could make him come off like a cult leader, always looking to recruit. Dr Alex Durant is one of the crew that is willing to listen to science over anything else, he quickly starts to see the positives in Hans’ plan looking to accept the idea he has created hoping to remain with him on the ship. Captain Dan Holland is quick to start looking around the ship, learning things aren’t always what they seem, he does what he can to make it look like the crew are following the instructions, but is always looking for the quickest way to safely get his crew off the ship. Charles Pizer is the weapons expert, he isn’t afraid to run into a battle, but he could find himself getting in trouble more often than not. Dr Kate McCrae has seen her father vanish off this ship, she has a connection with the robot which makes her valuable when it comes to dealing with situations that arise. Harry Booth is the engineer who has been worried about everything on board for too long, now he will cause the panic when he doesn’t need to. Vincent is the robot that is always going to help his crew, he isn’t scared of getting into confrontation.
Performances – Maximilian Schell in the lead villainous role does help us believe he can control people on everything in his genius mind. Anthony Perkins does well making see how easily somebody can turn to believe everything. Robert Forster does make for a great captain through the film, while the rest of the cast all work well with each other.
Story – The story here follows a research space travelling crew that discover a block hole and a ship on the edge, only to learn that the man living on the ship is the only one on the ship and he has bigger plans for his genius idea. This is a story that plays into the ideas of space travel that could see a black hole being one of the biggest problems. We see how one person could become made with power and how other could be torn between following him or escaping from him, leading to the crew needing to try and escape before they become his latest victims. This is one that could be something truly special and for the time it most likely was, but we have seen it done so many times through the years and is much better.
Action/Sci-Fi – The action is typical sci-fi action, we have laser guns, explosions and destruction on the ship, it isn’t anything overly fancy, but does what it needs to.
Settings – The film is set on the spaceship which shows the wide corridors and rooms that would be important to long distance space travel.
Special Effects – The effects in the film would have been great for the time, while some of the effects might have dated, they still get the peril over when the meteor strikes.
Scene of the Movie – The Meteor roll.
That Moment That Annoyed Me – Harry’s decision.
Final Thoughts – This is a sci-fi film that could have been the first of its type, it opened us up to an idea that could be faced by many if they went into space one day, even if the story seems to have been used a lot more in the future.
Overall: Ground Breaking Sci-Fi.
Rating
Kirk Bage (1775 KP) rated Downsizing (2017) in Movies
Mar 3, 2020
Sweeping up a few older films that I wanted to see but missed at the cinema in the last few years. My current IMDb watch list sits at 488, and, unlike this movie, never seems to shrink! There is a lot to keep up with. Bad reviews have kept me away from Alexander Payne’s Downsizing until now. I have to say, without the burden of expectation, it is a lot better than I thought it would be.
In particular, Sideways and The Descendents from the same Director are two of my absolute favourite light comedy satires of the last 20 years, so I am always interested to see what he is up to. He often has an eye for subtlety and relationships that can break the heart with truth. There is some of that on display here too, it has to be said, however, you do wonder if the sci-fi / CGI element of Downsizing got a little bit in the way?
It isn’t quite the film it could have been, and at times does feel messy and rushed. It also doesn’t follow through entirely with its premise, and perhaps that is what disappointed a lot of the audience. The idea of the small leaving the world of the large behind in search of an environmental solution to the world’s problems is compelling as a joke and allegorical devise… But it just isn’t explored to its full potential, and the visual effects that allow us to see this are years behind what they should have been.
Saying that, the personal journey’s of the main characters are relevent, funny, relatable and often unexpected. Matt Damon is totally fine and well cast; Christoph Waltz adds a counter-point humour and point of view that balances the political ethics of the subject very well; and both Kristen Wiig and Udi Keir offer support of deft pathos in minor roles.
The film truly belongs to Hong Chau, however. Without her multi-layered and show-stealing turn as a Vietnamese refugee, who “downsized” to escape tyranny, losing a limb in the process, the film would be much less than it ends up being. For its many faults, her performance lifts it to something worth watching, as long as you can forgive the argument that her character is a too broadly drawn race stereo-type. Honestly, I can’t see the problem, because I think what she does with it makes the movie – but I am aware of the problems with it…
As a political message and environmental allegory, the film as a whole raises some interesting debate, sometimes because of its (ahem) shortcomings. It is neither intelligent enough, nor funny enough to be a “good” film. But it is an entertaining film. If only to see the sequence of legal and medical procedure that leads to the new world of being small!
What would we be prepared to do to find an answer to a dying world, economic failure and personal unhappiness? Would we risk everything to find ourselves and a solution? Or would we carry on regardless? Feeling lost in a world of fear and looming disaster is a subject worth exploring, and I feel Downsizing asks enough questions well enough to be at least seen and argued with. If that is the only purpose it serves then… OK by me.
The bottom line is, I didn’t hate it. To see it at a rating of 5.7 on IMDb is strange and actually very interesting. It is not a bad film. It just doesn’t completely succeed. I think that score says much more about how vitriolic and opinionated people are becoming about environmental issues. Which is good. A missed opportunity perhaps, and therefore it earns a place in the bin marked “admirable failures”. See it for yourself if you haven’t – it has cult status written all over it, in very small writing.
In particular, Sideways and The Descendents from the same Director are two of my absolute favourite light comedy satires of the last 20 years, so I am always interested to see what he is up to. He often has an eye for subtlety and relationships that can break the heart with truth. There is some of that on display here too, it has to be said, however, you do wonder if the sci-fi / CGI element of Downsizing got a little bit in the way?
It isn’t quite the film it could have been, and at times does feel messy and rushed. It also doesn’t follow through entirely with its premise, and perhaps that is what disappointed a lot of the audience. The idea of the small leaving the world of the large behind in search of an environmental solution to the world’s problems is compelling as a joke and allegorical devise… But it just isn’t explored to its full potential, and the visual effects that allow us to see this are years behind what they should have been.
Saying that, the personal journey’s of the main characters are relevent, funny, relatable and often unexpected. Matt Damon is totally fine and well cast; Christoph Waltz adds a counter-point humour and point of view that balances the political ethics of the subject very well; and both Kristen Wiig and Udi Keir offer support of deft pathos in minor roles.
The film truly belongs to Hong Chau, however. Without her multi-layered and show-stealing turn as a Vietnamese refugee, who “downsized” to escape tyranny, losing a limb in the process, the film would be much less than it ends up being. For its many faults, her performance lifts it to something worth watching, as long as you can forgive the argument that her character is a too broadly drawn race stereo-type. Honestly, I can’t see the problem, because I think what she does with it makes the movie – but I am aware of the problems with it…
As a political message and environmental allegory, the film as a whole raises some interesting debate, sometimes because of its (ahem) shortcomings. It is neither intelligent enough, nor funny enough to be a “good” film. But it is an entertaining film. If only to see the sequence of legal and medical procedure that leads to the new world of being small!
What would we be prepared to do to find an answer to a dying world, economic failure and personal unhappiness? Would we risk everything to find ourselves and a solution? Or would we carry on regardless? Feeling lost in a world of fear and looming disaster is a subject worth exploring, and I feel Downsizing asks enough questions well enough to be at least seen and argued with. If that is the only purpose it serves then… OK by me.
The bottom line is, I didn’t hate it. To see it at a rating of 5.7 on IMDb is strange and actually very interesting. It is not a bad film. It just doesn’t completely succeed. I think that score says much more about how vitriolic and opinionated people are becoming about environmental issues. Which is good. A missed opportunity perhaps, and therefore it earns a place in the bin marked “admirable failures”. See it for yourself if you haven’t – it has cult status written all over it, in very small writing.
Emma @ The Movies (1786 KP) rated The Lodge (2019) in Movies
Mar 14, 2020
The Lodge made my long shortlist for films I wanted to see at the London Film Festival last year and I rounded out the event with this chilling tale.
Mia and Aidan are reluctantly spending time with their step-mom-to-be in a remote cabin for the holidays. Where their father has to leave for work the three of them have to make the best of a bad situation.
A snowstorm sets in and the almost amicable atmosphere they've got starts to change when strange things start happening and the children see a side of Grace they didn't know.
All credit to this film for amazing me right out of the blocks. It hands you such a strong start that it takes your breath away, as hooks go it's a pretty good one and it's well presented.
The story focuses heavily on the mental health of Grace and that's what stopped it from crossing into the horror genre for me. As a decent into madness it does a great job. Grace's attempt at a normal life is hindered by her backstory and the manipulation that moulded her into the person she is, while she might be free of the cult her life still has toxic aspects in it and her inability to truly escape that makes her an easy target. Adding to her woes with paranoia, fear and sadness easily derail her forward progress.
There's a certain point in the film where you work out what is going on, but my mind was telling me I couldn't be right, and looking back on the film I wish I hadn't been. The film throws a few explanations/ideas at you and all could have worked but I think leaving the ending with some uncertainty would have been a much more chilling way to end the story.
Riley Keough as Grace takes most of this film in her stride, the things Grace is being put through are reflected in every scene until she comes full circle, it's a wonderfully strong performance and regardless of my feelings about the outcome of the film it was a great success for her.
Jaeden Martell (Lieberher) playing Aidan and Lia McHugh as Mia both support the story well. Perhaps there was some room for growth but they were consistent throughout until the end of the film, at that point their parts became less believable.
Lastly we've got mum and dad. I would have liked a little more Alicia Silverstone, but as she got the strongest piece of the film I can't be too mad. Richard Armitage as Richard is probably the only role I just shrugged my shoulders at. He's a good actor but I think you could have put one of several different actors in his place and got the same effect. This is not a reflection on Armitage, more on the rather underused nature of the character.
The setting is largely at the lodge in a snowy landscape, it adds a certain bleakness to proceedings, though I'm not sure that it's used all that well. Interactions with it are somewhat cliche and expected. Apart from that there's a strong connection between two of the sets in the film and it gives an extra layer to the mystery but again, it's not great, partly it felt and little abstract and partly the greater meaning for the story. The overall tone of the locations, fit well though and helped develop some of the drama of the piece.
Yes there are flaws in The Lodge but it's still an interesting, and at some points, distressing film. Even with the strong performances from Silverstone and Keough the areas of missed potential can't be overlooked though and I think there really would have been something great in this had it explored some of its possibilities more.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/the-lodge-movie-review.html
Mia and Aidan are reluctantly spending time with their step-mom-to-be in a remote cabin for the holidays. Where their father has to leave for work the three of them have to make the best of a bad situation.
A snowstorm sets in and the almost amicable atmosphere they've got starts to change when strange things start happening and the children see a side of Grace they didn't know.
All credit to this film for amazing me right out of the blocks. It hands you such a strong start that it takes your breath away, as hooks go it's a pretty good one and it's well presented.
The story focuses heavily on the mental health of Grace and that's what stopped it from crossing into the horror genre for me. As a decent into madness it does a great job. Grace's attempt at a normal life is hindered by her backstory and the manipulation that moulded her into the person she is, while she might be free of the cult her life still has toxic aspects in it and her inability to truly escape that makes her an easy target. Adding to her woes with paranoia, fear and sadness easily derail her forward progress.
There's a certain point in the film where you work out what is going on, but my mind was telling me I couldn't be right, and looking back on the film I wish I hadn't been. The film throws a few explanations/ideas at you and all could have worked but I think leaving the ending with some uncertainty would have been a much more chilling way to end the story.
Riley Keough as Grace takes most of this film in her stride, the things Grace is being put through are reflected in every scene until she comes full circle, it's a wonderfully strong performance and regardless of my feelings about the outcome of the film it was a great success for her.
Jaeden Martell (Lieberher) playing Aidan and Lia McHugh as Mia both support the story well. Perhaps there was some room for growth but they were consistent throughout until the end of the film, at that point their parts became less believable.
Lastly we've got mum and dad. I would have liked a little more Alicia Silverstone, but as she got the strongest piece of the film I can't be too mad. Richard Armitage as Richard is probably the only role I just shrugged my shoulders at. He's a good actor but I think you could have put one of several different actors in his place and got the same effect. This is not a reflection on Armitage, more on the rather underused nature of the character.
The setting is largely at the lodge in a snowy landscape, it adds a certain bleakness to proceedings, though I'm not sure that it's used all that well. Interactions with it are somewhat cliche and expected. Apart from that there's a strong connection between two of the sets in the film and it gives an extra layer to the mystery but again, it's not great, partly it felt and little abstract and partly the greater meaning for the story. The overall tone of the locations, fit well though and helped develop some of the drama of the piece.
Yes there are flaws in The Lodge but it's still an interesting, and at some points, distressing film. Even with the strong performances from Silverstone and Keough the areas of missed potential can't be overlooked though and I think there really would have been something great in this had it explored some of its possibilities more.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/the-lodge-movie-review.html
Gareth von Kallenbach (965 KP) rated Phoenix Incident (2016) in Movies
Aug 6, 2019
Today’s selection, for your consideration, is another movie from the ‘found footage’ genre. I know I know. I’ve said it before and I’ll say it again … ‘The Blair Witch Project’ pretty much broke ground and played out that genre in the timespan of a single film. Hear me out though, cause the folks responsible for today’s selection tapped into the world of science fiction and ufos (and somewhat of a larger budget) to make this movie and the result is I believe a movie worthy enough to add to the selection of your Friday/Saturday night scary movie marathon. I’d even give it B-Movie/Cult Film status.
‘The Phoenix Incident’ is a documentary/sci-fi/thriller written and directed by Keith Arem and stars Yuri Lowenthal, Travis Willingham, Jamie Tisdale, Liam O’Brian, James C. Burns, Troy Baker, and Michael Adamthwaite. Based on the infamous ‘Phoenix Lights’ ufo incident which occurred on Thursday, March 13th 1997, the film merges the fictional disappearance of four local men and a military conspiracy with the factual account of thousands of people seeing what was described as a squadron or fleet of ufos seen traveling from the Nevada state line all the way to Phoenix, Arizona and later as far south as Mexico. The whole event was later attributed to a series of flares deployed as part of a trading exercise by A-10 Warthogs of U.S. National Guard (accounts vary by reports made by various media, law enforcement, and military outlets).
After overcoming a brief car accident outside of town and a brief but hostile encounter with a local religious fanatic, four of the five friends take off on their ATVs for an afternoon in the desert terrain surrounding Phoenix. As the friends are traversing the terrain and recording live video of their afternoon they suddenly spot a huge military presence consisting of warplanes, troop carriers, and attack helicopters racing into the desert at high speed. Intrigued and perhaps far too curious, the group of friends decide to try and follow the aircraft further into the desert as seen through their own camera footage. Darkness soon falls and the men become witnesses themselves to the mass UFO incident occurring over their town. Soon after though, their outing descends into absolute chaos as they become witnesses to something else. Something horrifying that will lead them into the unknown where their ultimate fate will become a mystery all its own. Included with the footage of the group are interviews with family and friends of the four missing men as well as interviews with law enforcement officials who each have different theories on what happened to the four friends. Intertwined with this footage is the account of the military exercises the men witnessed by an anonymous Air Force officer and his knowledge as to what REALLY happened to the four men that evening.
For a film made on less than a million dollars, I give this one major props. It’s definitely falls into the X-Files niche only without Mulder and Scully. I’m wondering if the filmmakers weren’t fans of ‘Unsolved Mysteries’ back in the day when Robert Stack hosted cause it has a similar bone-chilling aspect too it at some points. They didn’t CGI the hell out of the special effects either which I think is a real issue today in film and television. The acting ‘doesn’t look like acting’ either. The majority of ‘footage’ genuinely looks like a bunch of friends that start off spending the day goofing off and hanging out only to have their fun filled afternoon descend into utter hell.
I’ll give this one 3 out of 5 stars. Definitely worth the money for the digital download. Watch during sunset or at night to enhance the ‘thrill factor’ and checkout the bonus features included with the film as well. You’re liable to get caught up in it though and forget it’s fiction.
Or is it?
‘The Phoenix Incident’ is a documentary/sci-fi/thriller written and directed by Keith Arem and stars Yuri Lowenthal, Travis Willingham, Jamie Tisdale, Liam O’Brian, James C. Burns, Troy Baker, and Michael Adamthwaite. Based on the infamous ‘Phoenix Lights’ ufo incident which occurred on Thursday, March 13th 1997, the film merges the fictional disappearance of four local men and a military conspiracy with the factual account of thousands of people seeing what was described as a squadron or fleet of ufos seen traveling from the Nevada state line all the way to Phoenix, Arizona and later as far south as Mexico. The whole event was later attributed to a series of flares deployed as part of a trading exercise by A-10 Warthogs of U.S. National Guard (accounts vary by reports made by various media, law enforcement, and military outlets).
After overcoming a brief car accident outside of town and a brief but hostile encounter with a local religious fanatic, four of the five friends take off on their ATVs for an afternoon in the desert terrain surrounding Phoenix. As the friends are traversing the terrain and recording live video of their afternoon they suddenly spot a huge military presence consisting of warplanes, troop carriers, and attack helicopters racing into the desert at high speed. Intrigued and perhaps far too curious, the group of friends decide to try and follow the aircraft further into the desert as seen through their own camera footage. Darkness soon falls and the men become witnesses themselves to the mass UFO incident occurring over their town. Soon after though, their outing descends into absolute chaos as they become witnesses to something else. Something horrifying that will lead them into the unknown where their ultimate fate will become a mystery all its own. Included with the footage of the group are interviews with family and friends of the four missing men as well as interviews with law enforcement officials who each have different theories on what happened to the four friends. Intertwined with this footage is the account of the military exercises the men witnessed by an anonymous Air Force officer and his knowledge as to what REALLY happened to the four men that evening.
For a film made on less than a million dollars, I give this one major props. It’s definitely falls into the X-Files niche only without Mulder and Scully. I’m wondering if the filmmakers weren’t fans of ‘Unsolved Mysteries’ back in the day when Robert Stack hosted cause it has a similar bone-chilling aspect too it at some points. They didn’t CGI the hell out of the special effects either which I think is a real issue today in film and television. The acting ‘doesn’t look like acting’ either. The majority of ‘footage’ genuinely looks like a bunch of friends that start off spending the day goofing off and hanging out only to have their fun filled afternoon descend into utter hell.
I’ll give this one 3 out of 5 stars. Definitely worth the money for the digital download. Watch during sunset or at night to enhance the ‘thrill factor’ and checkout the bonus features included with the film as well. You’re liable to get caught up in it though and forget it’s fiction.
Or is it?
Gareth von Kallenbach (965 KP) rated The Rum Diary (2011) in Movies
Aug 7, 2019
For those unfamiliar with Hunter S. Thompson’s work (as I am), you may not recognize that this movie is based on his book of the same title, first published in 1998. Hunter S. Thompson is the same author who gave us the novel for which the film Fear and Loathing in Las Vegas was based on.
The Rum Diary follows Paul Kemp (played by Johnny Depp), a failed novelist turn journalist, who finds himself at a critical turning point in his life. Having written two and a half novels that were never published, he was having trouble finding his voice, in that he needed to find a way to “write like him” as Paul put it himself. So he decides to do some freelance writing for a small publication located in San Juan, Puerto Rico in 1960.
The movie opens with Kemp waking up in a hotel, and you can immediately, and clearly, see that he partakes in certain pleasures of life. After reporting to work at San Juan Star, Kemp meets Sala (played by Michael Rispoli), the photographer for the Star who quickly becomes his cohort. The editor-in-chief of the San Juan Star, Lotterman (played by Richard Jenkins) indicates to Kemp that the publication is only a few months away from being closed down, and that there really isn’t much to look forward to. He assigns Kemp to do some fluff pieces and the horoscope section of the paper.
Kemp is not content with this as he is looking at this experience as a way to put his career back on track. Over the next few days, during his adventures with Sala, he comes across a few different story ideas that are immediately shot down by Lotterman, as they emphasize the things that are wrong with San Juan, and Lotterman feels that the focus should be on the good things (like bowling alleys).
During one of his nights of boozing, he meets Chenault (played by Amber Heard). She’s aloof, mysterious, and of course… Kemp falls immediately in love with her. She just happens to be the girlfriend of Sanderson (played by Aaron Eckhart). Sanderson immediately recognizes the talents that Kemp has and begins recruiting him for a real estate scam. The idea is to get a foothold and build a new hotel on a private island that is used for United States military testing, but will soon be relinquished from that purpose. Sanderson and a group of investors want Kemp to put a brilliant positive spin on the hotel investment so that the public opinion, and that of those in a position to block the development, is a positive one.
Things begin to unravel as Kemp and Sala’s shenanigans keep getting them into trouble, culminating in a heated night where Kemp, Sala, Chenault and Sanderson end up at a bar during the St. Thomas Carnival.
The Rum Diary was highly entertaining with a great supporting cast. Giovani Ribisi provides an excellent distraction from some of the more serious events of the movie as he appears every now and then as Moburg, another reporter for the San Juan Star. The movie played like a great alcohol-induced, drug-fueled adventures of a journalist in the 1960s. Definitely some quirky moments, and you will find yourself laughing at many of Kemp and Sala’s exploits.
My only gripe with the movie is how it ended. The build up to Kemp printing the story and putting it out there leaves you wanting more. While I don’t think the film will reach the same cult-status that Fear and Loathing in Las Vegas will, it is definitely entertaining (all the way until the end). It is a good nod to Thompson and fans of his books and movie adaptations are sure to enjoy.
The Rum Diary follows Paul Kemp (played by Johnny Depp), a failed novelist turn journalist, who finds himself at a critical turning point in his life. Having written two and a half novels that were never published, he was having trouble finding his voice, in that he needed to find a way to “write like him” as Paul put it himself. So he decides to do some freelance writing for a small publication located in San Juan, Puerto Rico in 1960.
The movie opens with Kemp waking up in a hotel, and you can immediately, and clearly, see that he partakes in certain pleasures of life. After reporting to work at San Juan Star, Kemp meets Sala (played by Michael Rispoli), the photographer for the Star who quickly becomes his cohort. The editor-in-chief of the San Juan Star, Lotterman (played by Richard Jenkins) indicates to Kemp that the publication is only a few months away from being closed down, and that there really isn’t much to look forward to. He assigns Kemp to do some fluff pieces and the horoscope section of the paper.
Kemp is not content with this as he is looking at this experience as a way to put his career back on track. Over the next few days, during his adventures with Sala, he comes across a few different story ideas that are immediately shot down by Lotterman, as they emphasize the things that are wrong with San Juan, and Lotterman feels that the focus should be on the good things (like bowling alleys).
During one of his nights of boozing, he meets Chenault (played by Amber Heard). She’s aloof, mysterious, and of course… Kemp falls immediately in love with her. She just happens to be the girlfriend of Sanderson (played by Aaron Eckhart). Sanderson immediately recognizes the talents that Kemp has and begins recruiting him for a real estate scam. The idea is to get a foothold and build a new hotel on a private island that is used for United States military testing, but will soon be relinquished from that purpose. Sanderson and a group of investors want Kemp to put a brilliant positive spin on the hotel investment so that the public opinion, and that of those in a position to block the development, is a positive one.
Things begin to unravel as Kemp and Sala’s shenanigans keep getting them into trouble, culminating in a heated night where Kemp, Sala, Chenault and Sanderson end up at a bar during the St. Thomas Carnival.
The Rum Diary was highly entertaining with a great supporting cast. Giovani Ribisi provides an excellent distraction from some of the more serious events of the movie as he appears every now and then as Moburg, another reporter for the San Juan Star. The movie played like a great alcohol-induced, drug-fueled adventures of a journalist in the 1960s. Definitely some quirky moments, and you will find yourself laughing at many of Kemp and Sala’s exploits.
My only gripe with the movie is how it ended. The build up to Kemp printing the story and putting it out there leaves you wanting more. While I don’t think the film will reach the same cult-status that Fear and Loathing in Las Vegas will, it is definitely entertaining (all the way until the end). It is a good nod to Thompson and fans of his books and movie adaptations are sure to enjoy.
5 Minute Movie Guy (379 KP) rated Mad Max: Fury Road (2015) in Movies
Jun 30, 2019 (Updated Sep 16, 2019)
Mad Max: Fury Road is an intense, action-packed, visually stunning, and wildly entertaining film. It's only when the action slows down that the film starts to show signs of decay.
30 years and a fresh face later, the Mad Max series makes an extravagant and exhilarating return to theaters with Mad Max: Fury Road. Mel Gibson’s iconic wasteland warrior hero Max Rockatansky has been recast with the talented Tom Hardy, who gives us a more visceral and damaged portrayal of the character. Having endured years in the Hellish wasteland, Max now acts on his sole instinct of surviving. He’s ravaged by the horrors of his past and has lost all semblance of hope in this bleak, post-apocalyptic future where water is scarce and mayhem is bountiful. Director and series creator George Miller does a masterful job in creating a remarkable and inventive world of chaos and destruction, with action sequences that are practically unparalleled. Mad Max: Fury Road is a movie that keeps its fat, irradiated foot firmly pressed on the gas pedal throughout almost its entire duration, resulting in a movie that’s intense, action-packed, visually stunning, perfectly bizarre, wonderfully inventive, and wildly entertaining. It’s only when the action slows down that the film starts to show signs of decay.
In Fury Road, we first encounter Max alone in the wasteland in what is about to be a very long and very bad day. He’s quickly spotted and pursued by a pack of deathly-pale skinhead warriors known as Warboys. Outnumbered and easily captured, Max is taken to The Citadel, which serves as the home of the film’s central conflict. The monstrously plagued Immortan Joe rules over The Citadel like a cult leader, promising eternal salvation to his army of Warboys who die fighting for him. The city is a place of great disparity, as Joe teases the peasants with water, while he enjoys the excesses of his precious resources. Even worse is that he’s enslaved healthy, young women, known as his Five Wives, for the sake of producing his children.
This predicament doesn’t sit well with the battle-hardened woman warrior Imperator Furiosa (Charlize Theron) who serves under Immortan Joe’s command. Tired of Joe’s tyrannous ways, Imperator Furiosa betrays her leader during a routine gas run by venturing her armored war-rig offroad with the Five Wives secretly in tow. When news spreads that Furiosa is trying to escape and has taken the Wives with her, Joe and his army of Warboys feverishly follow in pursuit. This begins an epic, elaborate, and expertly crafted chase sequence that is absolutely outrageous and unmistakably brilliant.
Meanwhile, the enslaved Max ends up being inopportunely thrust into the action at full throttle, chained to the front of a car like a hood ornament. While Max’s name may be in the title, make no mistake about it, this is Furiosa’s story. Max is primarily just along for the ride, and doing whatever he can to survive. That’s not to say that Max is simply an unfortunate onlooker to the events of the film, but he is given little in the way of dialogue and backstory, and is chained up for a substantial portion of Fury Road. Though it should be said that the movie as a whole is rather thin on story and dialogue and it merely glosses over the plot to retain its focus on the action, which is where the film really sets itself apart.
The majority of the Fury Road serves as this long, impressive chase sequence that miraculously continues to escalate as the film goes on, despite appearing to throw the whole kitchen sink at you right at the beginning. It’s explosive, crazy, and jaw-droppingly awesome from the get-go, and yet believe me, it only gets bigger and better. Just wait until later when they start adding monster trucks, mini-guns, pole-vaulters, dirt bike-riding grannies, and a guitar flamethrower. It will leave you giddy with excitement. It’s an amazing, heavy-metal, end-of-the-world spectacle that you just got to see to believe. What makes it all even more incredible is that so much of the action is achieved by practical effects, with real stunts and car crashes and explosions.
Unfortunately, in the rare moments when Fury Road lets its foot off the gas and slows down the action, it sometimes sputters. Take for instance, the film’s climactic turning point when Furiosa’s dreams are spoiled. She dramatically falls to her knees in the sand, reeling in despair, and screams out into the void. This pivotal moment should be the most powerful moment of the film, but for me it fell completely flat. The problem here is that I never felt a strong attachment to the characters. While I respect Furiosa and Max for their strength in this struggle, I also feel like I don’t know much of anything about them, except that they’re adept at surviving and have battled through Hell to get to this point. So while this brief interlude drags a bit, Max thankfully turns things back around and leads us right back into the heart of the action, where Fury Road is at its best.
Charlize Theron gives a commanding performance as Furiosa, easily establishing herself among the ranks of the great female action stars. She makes for an excellent partner to Tom Hardy’s Max (though reportedly not so much on set). Hardy, on the other hand, puts in a solid performance, but I do take some issue with it. Truthfully, he just didn’t quite feel like Mad Max. His take on the character is too rugged. He’s missing the charm and likability that Mel Gibson’s Max had. His character may be cool, but he’s difficult to relate to, and feels remarkably reduced as he grunts throughout half of the movie without uttering a word. I can’t help but feel that perhaps Hardy took Max’s madness and survival instincts a little too far. The film also stars Nicholas Hoult as Nux, the Warboy that led Max into this whole mess, who expresses a much more appealing level of craziness. Whereas Nux is an energetic, lunatic cult follower, Max seems like he’s just a few bolts short of becoming a mentally-deranged hobo, which might not bode so well for future films. Lastly, there’s Immortan Joe, played by Hugh Keays-Byrne, who has an exceptional screen presence by being imposing, frightening, and so over-the-top that he’s kind of funny.
Visually and artistically, Mad Max: Fury Road is a triumphant success. It’s more gorgeous than you would ever think possible for a decrepit, wasteland warzone. Considerable skill and attention to detail are demonstrated to bring beauty out of this decaying environment. It features first-rate cinematography and unbelievable creativity. You’ll wonder how anyone ever thought of this stuff, but you’ll be grateful they did. The characters all look outstanding, unique, and memorable. I particularly loved Furiosa’s appearance with her prosthetic arm and grease-smeared warpaint. More impressive still is the menacing Immortan Joe with his mask and elaborate body armor. Fury Road similarly has beautiful special effects which greatly enhance the atmosphere as well as the film’s many remarkable stunts. In all, this is sure to be one of the best looking films of the year.
Mad Max: Fury Road may not be a perfect film, but it makes for an explosive and unforgettable return to the series. It’s truly a creative tour-de-force, with ingenious action, stellar design, and stunning visuals. It features brilliantly choreographed fights and chases, and some of the coolest movie stunts I’ve ever seen. The movie doesn’t always get the emotional punch it’s aiming for, and it has its share of awkward moments, but it sure makes a lasting impression with its intense, adrenaline-pumping theatrics. It might be a little too strange and twisted for some (though it’s relatively tame for being rated R), however, those who can handle the wasteland are sure to find a film that is deserving of respect and admiration. While I have my gripes with Hardy’s portrayal of Max, I know that I, for one, still can’t wait to see what the future holds for everybody’s favorite road warrior.
(The review was originally posted at 5mmg.com on 5.19.15.)
In Fury Road, we first encounter Max alone in the wasteland in what is about to be a very long and very bad day. He’s quickly spotted and pursued by a pack of deathly-pale skinhead warriors known as Warboys. Outnumbered and easily captured, Max is taken to The Citadel, which serves as the home of the film’s central conflict. The monstrously plagued Immortan Joe rules over The Citadel like a cult leader, promising eternal salvation to his army of Warboys who die fighting for him. The city is a place of great disparity, as Joe teases the peasants with water, while he enjoys the excesses of his precious resources. Even worse is that he’s enslaved healthy, young women, known as his Five Wives, for the sake of producing his children.
This predicament doesn’t sit well with the battle-hardened woman warrior Imperator Furiosa (Charlize Theron) who serves under Immortan Joe’s command. Tired of Joe’s tyrannous ways, Imperator Furiosa betrays her leader during a routine gas run by venturing her armored war-rig offroad with the Five Wives secretly in tow. When news spreads that Furiosa is trying to escape and has taken the Wives with her, Joe and his army of Warboys feverishly follow in pursuit. This begins an epic, elaborate, and expertly crafted chase sequence that is absolutely outrageous and unmistakably brilliant.
Meanwhile, the enslaved Max ends up being inopportunely thrust into the action at full throttle, chained to the front of a car like a hood ornament. While Max’s name may be in the title, make no mistake about it, this is Furiosa’s story. Max is primarily just along for the ride, and doing whatever he can to survive. That’s not to say that Max is simply an unfortunate onlooker to the events of the film, but he is given little in the way of dialogue and backstory, and is chained up for a substantial portion of Fury Road. Though it should be said that the movie as a whole is rather thin on story and dialogue and it merely glosses over the plot to retain its focus on the action, which is where the film really sets itself apart.
The majority of the Fury Road serves as this long, impressive chase sequence that miraculously continues to escalate as the film goes on, despite appearing to throw the whole kitchen sink at you right at the beginning. It’s explosive, crazy, and jaw-droppingly awesome from the get-go, and yet believe me, it only gets bigger and better. Just wait until later when they start adding monster trucks, mini-guns, pole-vaulters, dirt bike-riding grannies, and a guitar flamethrower. It will leave you giddy with excitement. It’s an amazing, heavy-metal, end-of-the-world spectacle that you just got to see to believe. What makes it all even more incredible is that so much of the action is achieved by practical effects, with real stunts and car crashes and explosions.
Unfortunately, in the rare moments when Fury Road lets its foot off the gas and slows down the action, it sometimes sputters. Take for instance, the film’s climactic turning point when Furiosa’s dreams are spoiled. She dramatically falls to her knees in the sand, reeling in despair, and screams out into the void. This pivotal moment should be the most powerful moment of the film, but for me it fell completely flat. The problem here is that I never felt a strong attachment to the characters. While I respect Furiosa and Max for their strength in this struggle, I also feel like I don’t know much of anything about them, except that they’re adept at surviving and have battled through Hell to get to this point. So while this brief interlude drags a bit, Max thankfully turns things back around and leads us right back into the heart of the action, where Fury Road is at its best.
Charlize Theron gives a commanding performance as Furiosa, easily establishing herself among the ranks of the great female action stars. She makes for an excellent partner to Tom Hardy’s Max (though reportedly not so much on set). Hardy, on the other hand, puts in a solid performance, but I do take some issue with it. Truthfully, he just didn’t quite feel like Mad Max. His take on the character is too rugged. He’s missing the charm and likability that Mel Gibson’s Max had. His character may be cool, but he’s difficult to relate to, and feels remarkably reduced as he grunts throughout half of the movie without uttering a word. I can’t help but feel that perhaps Hardy took Max’s madness and survival instincts a little too far. The film also stars Nicholas Hoult as Nux, the Warboy that led Max into this whole mess, who expresses a much more appealing level of craziness. Whereas Nux is an energetic, lunatic cult follower, Max seems like he’s just a few bolts short of becoming a mentally-deranged hobo, which might not bode so well for future films. Lastly, there’s Immortan Joe, played by Hugh Keays-Byrne, who has an exceptional screen presence by being imposing, frightening, and so over-the-top that he’s kind of funny.
Visually and artistically, Mad Max: Fury Road is a triumphant success. It’s more gorgeous than you would ever think possible for a decrepit, wasteland warzone. Considerable skill and attention to detail are demonstrated to bring beauty out of this decaying environment. It features first-rate cinematography and unbelievable creativity. You’ll wonder how anyone ever thought of this stuff, but you’ll be grateful they did. The characters all look outstanding, unique, and memorable. I particularly loved Furiosa’s appearance with her prosthetic arm and grease-smeared warpaint. More impressive still is the menacing Immortan Joe with his mask and elaborate body armor. Fury Road similarly has beautiful special effects which greatly enhance the atmosphere as well as the film’s many remarkable stunts. In all, this is sure to be one of the best looking films of the year.
Mad Max: Fury Road may not be a perfect film, but it makes for an explosive and unforgettable return to the series. It’s truly a creative tour-de-force, with ingenious action, stellar design, and stunning visuals. It features brilliantly choreographed fights and chases, and some of the coolest movie stunts I’ve ever seen. The movie doesn’t always get the emotional punch it’s aiming for, and it has its share of awkward moments, but it sure makes a lasting impression with its intense, adrenaline-pumping theatrics. It might be a little too strange and twisted for some (though it’s relatively tame for being rated R), however, those who can handle the wasteland are sure to find a film that is deserving of respect and admiration. While I have my gripes with Hardy’s portrayal of Max, I know that I, for one, still can’t wait to see what the future holds for everybody’s favorite road warrior.
(The review was originally posted at 5mmg.com on 5.19.15.)
Kirk Bage (1775 KP) rated The Umbrella Academy in TV
Sep 19, 2020 (Updated Jan 22, 2021)
I came to this gloriously colourful, energetic and super smart comic book adaptation in August (when Netflix advertised season 2), at a time of lockdown where I really needed something cheerful and fun to keep me going. It worked so well I watched both full seasons twice over, back to back, and key episodes 3 times! A rare thing indeed for me and a TV show.
Since then the rigours of isolation have set me back with a really long backlog for The Wasteland – currently I have a list of over 40 cultural artifacts I want to talk about and share with you- but, I am very glad to be talking about this one today, as even though it wasn’t that long ago, it evokes such fond happy memories of becoming just a little bit obsessed by something. A phenomenon that only seems to happen when you go into something with low to medium expectations and come out feeling like you have found a diamond in the rough.
The concept of 7 children with mysterious powers being adopted and raised by a shady and strict, umbrella wielding, father has been around a few years in the form of several graphic novels, penned by My Chemical Romance frontman Gerard Way. You can feel the vibe of something slightly emo and arty coming through – just cool enough but also self conscious; melancholy and dark in places but also lots of sardonic fun. But, unlike the books, which often look stark and minimal, the world created by show runner and director Steve Blackman is vivid and full to the brim with things to overwhelm the senses.
For the last few years, and especially of late, the Superhero genre has been so oversaturated that it is almost impossible to come up with anything original, but The Umbrella Academy together with Amazon’s The Boys, definitely manage to do that. It has enough mystique to be intriguingly confusing for the first few episodes, as we piece together the Hargreaves’ past that has led to the current situation, and discover the dynamic tension that exists between the adopted siblings. Oh, and there is a talking chimpanzee butler / guardian called Pogo, that feels like CGI gimmickery for a while, before growing into something truly wonderful.
The first thing you notice about this set of misfits, as they reassemble for their father’s funeral after years of bitterness and estrangement, is that they are all a little bit broken and uncomfortable in their own skins – their powers as individuals are all a bit, well frankly underwhelming, and their personalities are not exactly attractive in every case. Season one is all about re-establishing connections and working through identity crises. In many ways it is a coming of age story, as circumstances lead to them needing to grow up fast and join together to achieve true power. It works both on the surface and as a deeper allegory.
As each main character is introduced you inevitably get drawn into ranking them from most to least favourite, and the trick of it is how much those feelings shift as the story progresses. Everyone loves Klaus, the twitchy junkie who can see dead people, his completely non heroic yet hilariously stoned outlook gives him many of the best lines and most fun scenes. I changed allegiance several times with the others, but Klaus, played by the charismatic Irish actor Robert Sheehan, always remained my favourite, because of his hippie rockstar vibe. Although it’s hard not to have a soft spot for Number 5, the time travelling schoolboy that has been missing for years and re-emerges as a middle aged man still trapped in the boys’ body. Aiden Gillen is superb in conveying that he is older whilst always looking like a teenager, and in many ways he is the true pivot and anchor of the story.
I suppose before the show aired it was Ellen Page that was the “star” draw amongst the young and mostly unknown cast of “heroes”. As Vanya, the only Hargreaves child never to demonstrate a power, and held aside by their controlling father, she is the outsider and most insecure of the bunch. You sense her storyline is going to be crucial to the whole shebang, and so it turns out, but her fame as an actress of note never overshadows the show as a whole – it feels instantly like a group effort, and in that sense a true family, the deeper you get into it.
I could go on explaining each character and the details of the intricate plot forever, but I would never do it justice. The only way to see what the fuss is about is to watch it. Anything else would just sound like mad confusion to the uninitiated. All I can say is that it does an incredible job of unfolding its charms and secrets piece by piece. So much so that by the climax of season two I am still not entirely sure we have all the information necessary to know what is going on in a complete sense; there are several questions and mysteries still to be unearthed, and I like that very much.
I have recommended this show to anyone I know who enjoys something entertaining that has substance yet doesn’t take itself too seriously – so that is everyone then! I think it’s allure is that very thing: it manages to hit a zeitgeist of perfect balance between a smart script and plotline with many cliffhangers, and enough disposable moments of fun, to be exactly what the modern Netflix viewer is looking for. Super easy to watch with one eye or with both, depending on what mood you are in.
There is also the style of the thing – a veritable candy box of colours and neat visual tricks, mixed in with some of the best musical montage sequences I have ever seen. I understand from several interviews that Steve Blackman specifically wrote certain scenes around the feel of a piece of music he wanted to include. That is a clever way of building a cult following: find songs that both tell a story and appeal to the cool kids, then use them as mini music video segments that punctuate the heavier elements of storytelling. It’s not a new trick, but the song choices here are so good that it has rarely been done this well before.
It all works especially well as we move into season two and an historical context that brings up a lot of pertinent issues for some of the siblings regarding race, sexuality and other freedoms of identity that can be taken for granted in the modern era. I don’t want to spoil too much of that here, but suffice to say as a hook to pin the themes on it is a genius touch that makes season two a huge leap forward on something that was already pretty decent in season one. All the characters become more rounded and relatable, even the so called bad guys – an increasingly eccentric bunch of creations that leave you in no doubt this is a comic book world not to be confused with reality.
At time of writing, a third season has still not being given the greenlight. Considering the massive cliffhanger we are left with at the end of season two, and how big the cult following seems to be by now, it would be an absolute crime not to allow it to continue. The only reason I can see it wouldn’t is that the stories of the source material are now exhausted, and anywhere they go from here will need to be truly original. However, there is so much scope to do almost anything from here that I don’t see it as any kind of issue.
If you haven’t seen it, I urge you whole-heartedly to give it a go. There really is something in there to please everyone, except perhaps the most serious minded of realists. Even then, they’d be hard pressed not to raise a smile or tap a toe at some of the best musical moments of emo hero mayhem.
Since then the rigours of isolation have set me back with a really long backlog for The Wasteland – currently I have a list of over 40 cultural artifacts I want to talk about and share with you- but, I am very glad to be talking about this one today, as even though it wasn’t that long ago, it evokes such fond happy memories of becoming just a little bit obsessed by something. A phenomenon that only seems to happen when you go into something with low to medium expectations and come out feeling like you have found a diamond in the rough.
The concept of 7 children with mysterious powers being adopted and raised by a shady and strict, umbrella wielding, father has been around a few years in the form of several graphic novels, penned by My Chemical Romance frontman Gerard Way. You can feel the vibe of something slightly emo and arty coming through – just cool enough but also self conscious; melancholy and dark in places but also lots of sardonic fun. But, unlike the books, which often look stark and minimal, the world created by show runner and director Steve Blackman is vivid and full to the brim with things to overwhelm the senses.
For the last few years, and especially of late, the Superhero genre has been so oversaturated that it is almost impossible to come up with anything original, but The Umbrella Academy together with Amazon’s The Boys, definitely manage to do that. It has enough mystique to be intriguingly confusing for the first few episodes, as we piece together the Hargreaves’ past that has led to the current situation, and discover the dynamic tension that exists between the adopted siblings. Oh, and there is a talking chimpanzee butler / guardian called Pogo, that feels like CGI gimmickery for a while, before growing into something truly wonderful.
The first thing you notice about this set of misfits, as they reassemble for their father’s funeral after years of bitterness and estrangement, is that they are all a little bit broken and uncomfortable in their own skins – their powers as individuals are all a bit, well frankly underwhelming, and their personalities are not exactly attractive in every case. Season one is all about re-establishing connections and working through identity crises. In many ways it is a coming of age story, as circumstances lead to them needing to grow up fast and join together to achieve true power. It works both on the surface and as a deeper allegory.
As each main character is introduced you inevitably get drawn into ranking them from most to least favourite, and the trick of it is how much those feelings shift as the story progresses. Everyone loves Klaus, the twitchy junkie who can see dead people, his completely non heroic yet hilariously stoned outlook gives him many of the best lines and most fun scenes. I changed allegiance several times with the others, but Klaus, played by the charismatic Irish actor Robert Sheehan, always remained my favourite, because of his hippie rockstar vibe. Although it’s hard not to have a soft spot for Number 5, the time travelling schoolboy that has been missing for years and re-emerges as a middle aged man still trapped in the boys’ body. Aiden Gillen is superb in conveying that he is older whilst always looking like a teenager, and in many ways he is the true pivot and anchor of the story.
I suppose before the show aired it was Ellen Page that was the “star” draw amongst the young and mostly unknown cast of “heroes”. As Vanya, the only Hargreaves child never to demonstrate a power, and held aside by their controlling father, she is the outsider and most insecure of the bunch. You sense her storyline is going to be crucial to the whole shebang, and so it turns out, but her fame as an actress of note never overshadows the show as a whole – it feels instantly like a group effort, and in that sense a true family, the deeper you get into it.
I could go on explaining each character and the details of the intricate plot forever, but I would never do it justice. The only way to see what the fuss is about is to watch it. Anything else would just sound like mad confusion to the uninitiated. All I can say is that it does an incredible job of unfolding its charms and secrets piece by piece. So much so that by the climax of season two I am still not entirely sure we have all the information necessary to know what is going on in a complete sense; there are several questions and mysteries still to be unearthed, and I like that very much.
I have recommended this show to anyone I know who enjoys something entertaining that has substance yet doesn’t take itself too seriously – so that is everyone then! I think it’s allure is that very thing: it manages to hit a zeitgeist of perfect balance between a smart script and plotline with many cliffhangers, and enough disposable moments of fun, to be exactly what the modern Netflix viewer is looking for. Super easy to watch with one eye or with both, depending on what mood you are in.
There is also the style of the thing – a veritable candy box of colours and neat visual tricks, mixed in with some of the best musical montage sequences I have ever seen. I understand from several interviews that Steve Blackman specifically wrote certain scenes around the feel of a piece of music he wanted to include. That is a clever way of building a cult following: find songs that both tell a story and appeal to the cool kids, then use them as mini music video segments that punctuate the heavier elements of storytelling. It’s not a new trick, but the song choices here are so good that it has rarely been done this well before.
It all works especially well as we move into season two and an historical context that brings up a lot of pertinent issues for some of the siblings regarding race, sexuality and other freedoms of identity that can be taken for granted in the modern era. I don’t want to spoil too much of that here, but suffice to say as a hook to pin the themes on it is a genius touch that makes season two a huge leap forward on something that was already pretty decent in season one. All the characters become more rounded and relatable, even the so called bad guys – an increasingly eccentric bunch of creations that leave you in no doubt this is a comic book world not to be confused with reality.
At time of writing, a third season has still not being given the greenlight. Considering the massive cliffhanger we are left with at the end of season two, and how big the cult following seems to be by now, it would be an absolute crime not to allow it to continue. The only reason I can see it wouldn’t is that the stories of the source material are now exhausted, and anywhere they go from here will need to be truly original. However, there is so much scope to do almost anything from here that I don’t see it as any kind of issue.
If you haven’t seen it, I urge you whole-heartedly to give it a go. There really is something in there to please everyone, except perhaps the most serious minded of realists. Even then, they’d be hard pressed not to raise a smile or tap a toe at some of the best musical moments of emo hero mayhem.
Movie Metropolis (309 KP) rated Blade Runner 2049 (2017) in Movies
Jun 10, 2019
A Visual Treat
It was always going to be a tricky proposition to craft a sequel to Ridley Scott’s divisive 1982 film, Blade Runner. By divisive, I mean that while it has gained a cult following in the decades since its initial release, the film’s initial box-office run resulted in a gross that many would label ‘disappointing.’
Stuck in development hell for well over 20 years, Blade Runner 2049 as it’s now known entered the hands of sci-fi aficionado Denis Villeneuve since 2015. But has a wait of over three decades been kind to the finished film?
Officer K (Ryan Gosling), a new blade runner tasked with tracking down old replicants for the Los Angeles Police Department, unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. His discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former blade runner who’s been missing for 30 years.
Visually, Blade Runner 2049 is an absolute masterpiece but from the director of the equally stunning Arrival, this was to be expected. Tasked with taking the first film and crafting a worthy sequel was never going to be an easy ride for Villeneuve and he almost makes it out the other side unscathed, almost.
Our cast is one of the film’s strongest suits with Gosling in particular being as magnetic a presence as ever. It’s also nice to see the wonderful Dave Bautista sink his teeth into something a little grittier than his well-worn Drax persona. Unfortunately, despite being an ever-present feature in the trailers, Harrison Ford is disappointingly underused, though he does appear in 2049’s best sequences.
The cinematography is absolutely beautiful, there really is no other word for it. Bizarrely grounded in reality, the year 2049 is a place that doesn’t feel too far away from the world as we know it. Villeneuve’s metropolis’ live and breathe right before our very eyes with a desolate Las Vegas in particular being a highlight, bathed in an eerie orange glow.
The CGI too is staggering and some of the best seen in the genre. Holograms litter the cityscapes and detail pours out of every frame – Blade Runner 2049 has been meticulously crafted to an incredibly high standard by someone who clearly cares about the legacy this film will leave.
Elsewhere, the score by Hans Zimmer and Benjamin Wallfisch is exquisite. Blending nostalgic tones with a modern edge, the music is one of the film’s high points and couples with each frame almost perfectly.
So, to look at and to listen to, it’s spectacular. But how does the rest of this sequel fare? Well, not too bad at all really. The story feels linked to the first film in a way that doesn’t tread on its toes. Many long-awaited sequels feel it necessary to shred what came before and try far too hard to craft their own paths. Thankfully, 2049 honours its predecessor in more ways than just sickly nostalgia.
Unfortunately, it’s far too long. At 163 minutes, this is a real slog by anyone’s standards and while it’s true the pacing is spot on, there’s no getting away from the fact that this is a long film and feels it. It would’ve been pretty easy to shave a couple of minutes from the run-time here and there, though it’s not too much of an issue.
My only other bugbear is a pretty big one. Ridley Scott’s ’82 masterpiece was a film that had a soul, despite its plot focusing on those to the contrary. Here, the sheen, the glitz and the polish are all super impressive but much like the replicants our blade runner must hunt, it all feels a touch soulless.
Ultimately, Blade Runner 2049 is a fine sequel to a film that’s been crying out for one since 1982. Ryan Gosling and Harrison Ford make a fine pairing despite the latter’s limited screen time but what this film is lacking is heart, and that’s something that can’t be made with stunning cinematography.
https://moviemetropolis.net/2017/10/06/blade-runner-2049-review/
Stuck in development hell for well over 20 years, Blade Runner 2049 as it’s now known entered the hands of sci-fi aficionado Denis Villeneuve since 2015. But has a wait of over three decades been kind to the finished film?
Officer K (Ryan Gosling), a new blade runner tasked with tracking down old replicants for the Los Angeles Police Department, unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. His discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former blade runner who’s been missing for 30 years.
Visually, Blade Runner 2049 is an absolute masterpiece but from the director of the equally stunning Arrival, this was to be expected. Tasked with taking the first film and crafting a worthy sequel was never going to be an easy ride for Villeneuve and he almost makes it out the other side unscathed, almost.
Our cast is one of the film’s strongest suits with Gosling in particular being as magnetic a presence as ever. It’s also nice to see the wonderful Dave Bautista sink his teeth into something a little grittier than his well-worn Drax persona. Unfortunately, despite being an ever-present feature in the trailers, Harrison Ford is disappointingly underused, though he does appear in 2049’s best sequences.
The cinematography is absolutely beautiful, there really is no other word for it. Bizarrely grounded in reality, the year 2049 is a place that doesn’t feel too far away from the world as we know it. Villeneuve’s metropolis’ live and breathe right before our very eyes with a desolate Las Vegas in particular being a highlight, bathed in an eerie orange glow.
The CGI too is staggering and some of the best seen in the genre. Holograms litter the cityscapes and detail pours out of every frame – Blade Runner 2049 has been meticulously crafted to an incredibly high standard by someone who clearly cares about the legacy this film will leave.
Elsewhere, the score by Hans Zimmer and Benjamin Wallfisch is exquisite. Blending nostalgic tones with a modern edge, the music is one of the film’s high points and couples with each frame almost perfectly.
So, to look at and to listen to, it’s spectacular. But how does the rest of this sequel fare? Well, not too bad at all really. The story feels linked to the first film in a way that doesn’t tread on its toes. Many long-awaited sequels feel it necessary to shred what came before and try far too hard to craft their own paths. Thankfully, 2049 honours its predecessor in more ways than just sickly nostalgia.
Unfortunately, it’s far too long. At 163 minutes, this is a real slog by anyone’s standards and while it’s true the pacing is spot on, there’s no getting away from the fact that this is a long film and feels it. It would’ve been pretty easy to shave a couple of minutes from the run-time here and there, though it’s not too much of an issue.
My only other bugbear is a pretty big one. Ridley Scott’s ’82 masterpiece was a film that had a soul, despite its plot focusing on those to the contrary. Here, the sheen, the glitz and the polish are all super impressive but much like the replicants our blade runner must hunt, it all feels a touch soulless.
Ultimately, Blade Runner 2049 is a fine sequel to a film that’s been crying out for one since 1982. Ryan Gosling and Harrison Ford make a fine pairing despite the latter’s limited screen time but what this film is lacking is heart, and that’s something that can’t be made with stunning cinematography.
https://moviemetropolis.net/2017/10/06/blade-runner-2049-review/