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Radarbot: Speed Camera Detector, Traffic & Alerts
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Radarbot is your ally on the road. It’s the only application that combines real-time Alerts with...
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Get ready to rescue baby dinosaurs with Blaze and AJ in Blaze’s Dinosaur Egg Rescue Game! This...
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Kill Shot Bravo - Play the #1 Shooter on Mobile! Become the Deadliest Special Forces Solider! Arm...
This War of Mine: The Board Game
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This War Of Mine: The Board Game is the tabletop adaptation of the award-winning video game that...
Mending the Rift Box Set
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King's Conquest The only way for Prince Rin to save his kingdom is to marry a king and bear a...
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Lionhearts: Part Two Box Set
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Into the Arena He will fight for the one he loves, no matter what it takes. Cesare Bianco is a...
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Keep Her Safe
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In the blink of an eye, she's gone. Maggie’s daughter Penny is her whole world… and she’d do...
Bob Mann (459 KP) rated The Beatles: Eight Days A Week - The Touring Years (2016) in Movies
Sep 29, 2021
A film worth getting into your life.
Reviewing documentaries is always a bit tricky, since it is often difficult to separate the quality of the film making from your emotional attachment to the subject material. In my case, my early life was saturated with Beatlemania. Although I was only 2 year’s old in 1963 at the start of it all, I had three older siblings who ramped up the excitement so much that it permeated my young mind. I still remember being vehemently “Sssshhed” since I was making too much noise during the live and ground-breaking “All you need is Love” telecast!
Ron Howard’s film focuses on “the touring years” which as depicted were truly manic, spanning from 1963 to 1966 before then skipping forward to 1969 for their final rooftop concert. This was in a time when airline travel was not the more comfortable and smoke-free environment it is today, so these worldwide trips much have been seriously grueling, even without the adoration that reached dangerous proportions when they reached their destinations.
Howard has clearly had his research team scour the world for archive clips since – whilst sensitively skipping some of the more ‘commonly seen’ materials, like the “jewelry shaking” clip – the film shows concert action I certainly had never seen before.
The film is also nicely interlaced with celebrity cameos recalling their linkage to the Fab Four’s performances (often moving, like Whoopi Goldberg’s) and the group’s “legacy” effect on modern-day art (in Richard Curtis’s case rather less convincing). One of the most striking of these is that of Sigourney Weaver recounting her attendance as a pre-teen at the Beatle’s Rose Bowl performance in LA. There, in the newsreel footage of adoring fans, is the unmistakable face of the ‘before she was famous’ actress: at least I hope it really was her (as the clip’s timing implied) and not a lookalike, since that would be really disappointing!
Also featuring – although not enough for my liking – are Paul McCartney and Ringo Starr, recounting their feelings about the events and what happened behind the closed doors of hotel rooms or – most notably – a meat truck.
What shines through is the honesty and intelligence of Lennon and McCartney, typified by the idiotic questioning of journalists, some of who had done so little homework they didn’t even know there wasn’t a Beatle called Eric! Some of the group’s off the cuff responses were priceless: “What is the secret of your success?” asks one journo. “We don’t know” quips John. “If we knew we’d form another group and be managers.”
While the film has enormous energy in its first two thirds, it rather runs out of momentum in its final reel…. a bit like the Beatles did in fact. It also has elements of gimmickry like the smoke rising from photo cigarettes which gets a tad tiresome after the tenth occurrence.
But this is a very watchable and enjoyable rock down memory lane for 50-somethings and for any fans old and young of the Fab Four’s music. Highly Recommended. Note that the documentary itself is about 90 minutes in length, with another 30 minutes of live concert music tagged onto the end post-titles (which for travel reasons I was unfortunately unable to stay for so can’t comment on).
Ron Howard’s film focuses on “the touring years” which as depicted were truly manic, spanning from 1963 to 1966 before then skipping forward to 1969 for their final rooftop concert. This was in a time when airline travel was not the more comfortable and smoke-free environment it is today, so these worldwide trips much have been seriously grueling, even without the adoration that reached dangerous proportions when they reached their destinations.
Howard has clearly had his research team scour the world for archive clips since – whilst sensitively skipping some of the more ‘commonly seen’ materials, like the “jewelry shaking” clip – the film shows concert action I certainly had never seen before.
The film is also nicely interlaced with celebrity cameos recalling their linkage to the Fab Four’s performances (often moving, like Whoopi Goldberg’s) and the group’s “legacy” effect on modern-day art (in Richard Curtis’s case rather less convincing). One of the most striking of these is that of Sigourney Weaver recounting her attendance as a pre-teen at the Beatle’s Rose Bowl performance in LA. There, in the newsreel footage of adoring fans, is the unmistakable face of the ‘before she was famous’ actress: at least I hope it really was her (as the clip’s timing implied) and not a lookalike, since that would be really disappointing!
Also featuring – although not enough for my liking – are Paul McCartney and Ringo Starr, recounting their feelings about the events and what happened behind the closed doors of hotel rooms or – most notably – a meat truck.
What shines through is the honesty and intelligence of Lennon and McCartney, typified by the idiotic questioning of journalists, some of who had done so little homework they didn’t even know there wasn’t a Beatle called Eric! Some of the group’s off the cuff responses were priceless: “What is the secret of your success?” asks one journo. “We don’t know” quips John. “If we knew we’d form another group and be managers.”
While the film has enormous energy in its first two thirds, it rather runs out of momentum in its final reel…. a bit like the Beatles did in fact. It also has elements of gimmickry like the smoke rising from photo cigarettes which gets a tad tiresome after the tenth occurrence.
But this is a very watchable and enjoyable rock down memory lane for 50-somethings and for any fans old and young of the Fab Four’s music. Highly Recommended. Note that the documentary itself is about 90 minutes in length, with another 30 minutes of live concert music tagged onto the end post-titles (which for travel reasons I was unfortunately unable to stay for so can’t comment on).
DaveySmithy (107 KP) rated Fight Club (1999) in Movies
Dec 3, 2024
An Explosive and Provocative Journey
Few films have managed to spark as much debate and cultural impact as David Fincher’s Fight Club. Released in 1999, this dark and audacious psychological thriller quickly evolved from a divisive box office release to a bona fide cult classic. Based on Chuck Palahniuk’s novel of the same name, Fight Club is more than just a movie—it’s an exploration of identity, consumerism, and the hidden chaos lurking within us all. Fincher’s meticulous direction, coupled with outstanding performances by Edward Norton and Brad Pitt, makes Fight Club a visceral and thought-provoking cinematic ride that lingers long after the credits roll.
The story is told through the eyes of the unnamed narrator (Norton), a white-collar worker trapped in a monotonous life. Crippled by insomnia and a desperate longing for purpose, his mundane existence takes a dramatic turn when he crosses paths with Tyler Durden (Pitt), a magnetic, anarchic soap maker. Together, they form the titular fight club—a raw, underground outlet for men to vent their frustrations by literally beating them out of each other. What begins as an unconventional form of therapy soon spirals into a chaotic and dangerous movement, leading the narrator down a path of self-destruction and shocking revelations.
Edward Norton delivers a career-best performance as the narrator, capturing the character’s descent into madness with unnerving precision. His dry wit and self-deprecating humor make him relatable, even as his actions become increasingly unhinged. But it’s Brad Pitt who truly steals the show as Tyler Durden. Charismatic, unpredictable, and dripping with swagger, Pitt embodies the fantasy of rebellion and freedom that so many viewers secretly crave. Together, the two actors create a mesmerizing dynamic, with Tyler representing everything the narrator wants to be—and fears he might become.
Helena Bonham Carter rounds out the core cast as Marla Singer, a nihilistic wildcard who both disrupts and grounds the narrator’s chaotic journey. Her chemistry with Norton is as compelling as it is unconventional, adding a layer of emotional complexity to an otherwise hyper-masculine narrative.
What sets Fight Club apart is its fearless critique of modern society. It skewers consumerism, masculinity, and the emptiness of the so-called “American Dream,” forcing viewers to confront uncomfortable truths about their own lives. Fincher’s direction is sharp and unrelenting, with the film’s gritty visual style perfectly complementing its nihilistic tone. The innovative use of CGI, fourth-wall-breaking moments, and hauntingly effective cinematography by Jeff Cronenweth keep the audience on edge, unsure of what to expect next.
Yet, Fight Club is not without flaws. Its provocative themes can feel overly blunt at times, and some viewers might find its violent and anarchistic undertones alienating. Additionally, while the infamous plot twist is masterfully executed, it risks overshadowing the film’s deeper messages upon rewatch.
The soundtrack, anchored by The Dust Brothers’ industrial score and the unforgettable use of The Pixies’ “Where Is My Mind?” in the climax, elevates the film to iconic status. These elements, combined with razor-sharp dialogue and endlessly quotable lines, solidify Fight Club as a masterpiece of late-90s cinema.
While it may not be for everyone, Fight Club is a bold, daring, and unforgettable experience that challenges societal norms and forces introspection. It’s an audacious 9/10 film—flawed but brilliant, much like the chaos it portrays.
The story is told through the eyes of the unnamed narrator (Norton), a white-collar worker trapped in a monotonous life. Crippled by insomnia and a desperate longing for purpose, his mundane existence takes a dramatic turn when he crosses paths with Tyler Durden (Pitt), a magnetic, anarchic soap maker. Together, they form the titular fight club—a raw, underground outlet for men to vent their frustrations by literally beating them out of each other. What begins as an unconventional form of therapy soon spirals into a chaotic and dangerous movement, leading the narrator down a path of self-destruction and shocking revelations.
Edward Norton delivers a career-best performance as the narrator, capturing the character’s descent into madness with unnerving precision. His dry wit and self-deprecating humor make him relatable, even as his actions become increasingly unhinged. But it’s Brad Pitt who truly steals the show as Tyler Durden. Charismatic, unpredictable, and dripping with swagger, Pitt embodies the fantasy of rebellion and freedom that so many viewers secretly crave. Together, the two actors create a mesmerizing dynamic, with Tyler representing everything the narrator wants to be—and fears he might become.
Helena Bonham Carter rounds out the core cast as Marla Singer, a nihilistic wildcard who both disrupts and grounds the narrator’s chaotic journey. Her chemistry with Norton is as compelling as it is unconventional, adding a layer of emotional complexity to an otherwise hyper-masculine narrative.
What sets Fight Club apart is its fearless critique of modern society. It skewers consumerism, masculinity, and the emptiness of the so-called “American Dream,” forcing viewers to confront uncomfortable truths about their own lives. Fincher’s direction is sharp and unrelenting, with the film’s gritty visual style perfectly complementing its nihilistic tone. The innovative use of CGI, fourth-wall-breaking moments, and hauntingly effective cinematography by Jeff Cronenweth keep the audience on edge, unsure of what to expect next.
Yet, Fight Club is not without flaws. Its provocative themes can feel overly blunt at times, and some viewers might find its violent and anarchistic undertones alienating. Additionally, while the infamous plot twist is masterfully executed, it risks overshadowing the film’s deeper messages upon rewatch.
The soundtrack, anchored by The Dust Brothers’ industrial score and the unforgettable use of The Pixies’ “Where Is My Mind?” in the climax, elevates the film to iconic status. These elements, combined with razor-sharp dialogue and endlessly quotable lines, solidify Fight Club as a masterpiece of late-90s cinema.
While it may not be for everyone, Fight Club is a bold, daring, and unforgettable experience that challenges societal norms and forces introspection. It’s an audacious 9/10 film—flawed but brilliant, much like the chaos it portrays.
LeftSideCut (3776 KP) rated Prey (2022) in Movies
Aug 8, 2022
It's no secret that since the original and beloved Predator hit cinemas back in 1987, the franchise has seen a steady decline in quality, with each subsequent entry somehow managing to be less palatable than the one before. Not even IP crossovers could save it (although I'm still holding out hope for an Archie Vs Predator adaption someday.) It's a series that had been in dire need of a shake up for a long time, and that's exactly what Prey is. It swaps the modern settings we're used to, placing the action in the Comanche Nation in the early 1700s, it doubles down on the horror elements that have always bubbled beneath the surface, and most importantly, gives us the best and most memorable protagonist yet.
Naru, played by a truly fantastic Amber Midthunder, is a character who has something to prove. She falls down but doesn't accept defeat. She's relatable, determined, and ultimately, a perfect match for her enemy. One wonders who the prey that the title refers to truly is in this scenario. As such, the narrative plays out as a genuinely tense cat-and-mouse game between two abled warriors, both on the hunt, both trying to survive, and it's a joy to watch unfold.
The first third is a bit of a slow burn, allowing the audience to acclimate to the setting and culture. It gives everything a chance to breathe, and basks in some stunning vistas and beautiful cinematography. The vast majority of Prey was filmed on location in the Stoney Nakoda Nation in Canada. This gives the overall aesthetic a feeling of authenticity and wonder. The somewhat tepid pacing of the first third never gets boring, and remains engaging until things really kick off.
The first encounter the predator has with the human characters marks the start of something special, and from here on, the pedal is to the floor until the credits roll. The action scenes are as thrilling as they are brutal. This predator in particular feels more dangerous and ruthless than before, making minced meat of it's victims. The gore is impactful and the kills are creative. Some great sound editing ensures that even when the camera cuts away now and again, the violence is still felt in full. This is all complimented by the design of the predator. It's mask is more primitive than what we've seen in the past, meaning that even with all of it's high tech gadgets, the predator doesn't feel out of place. Everything climaxes in a hugely entertaining finale that would make Dutch proud. There are moments where Prey apes the original a bit, but it's all executed well, and never feels like it's grasping at nostalgic straws like some of the later sequels have done.
It's clear that there an abundance of positives exuded by Prey, a prequel that no one was chomping at the bit for, but a film that absolutely blows it's predecessors out of the water. Dan Trachtenberg has proven that he can step into a franchise and give us something new before with 10 Cloverfield Lane, and this just cements that claim. Prey is a well realised, and well put together project that is arguably the best entry in the entire Predator franchise, and one can only hope that any future installments are handled in the same way.
Naru, played by a truly fantastic Amber Midthunder, is a character who has something to prove. She falls down but doesn't accept defeat. She's relatable, determined, and ultimately, a perfect match for her enemy. One wonders who the prey that the title refers to truly is in this scenario. As such, the narrative plays out as a genuinely tense cat-and-mouse game between two abled warriors, both on the hunt, both trying to survive, and it's a joy to watch unfold.
The first third is a bit of a slow burn, allowing the audience to acclimate to the setting and culture. It gives everything a chance to breathe, and basks in some stunning vistas and beautiful cinematography. The vast majority of Prey was filmed on location in the Stoney Nakoda Nation in Canada. This gives the overall aesthetic a feeling of authenticity and wonder. The somewhat tepid pacing of the first third never gets boring, and remains engaging until things really kick off.
The first encounter the predator has with the human characters marks the start of something special, and from here on, the pedal is to the floor until the credits roll. The action scenes are as thrilling as they are brutal. This predator in particular feels more dangerous and ruthless than before, making minced meat of it's victims. The gore is impactful and the kills are creative. Some great sound editing ensures that even when the camera cuts away now and again, the violence is still felt in full. This is all complimented by the design of the predator. It's mask is more primitive than what we've seen in the past, meaning that even with all of it's high tech gadgets, the predator doesn't feel out of place. Everything climaxes in a hugely entertaining finale that would make Dutch proud. There are moments where Prey apes the original a bit, but it's all executed well, and never feels like it's grasping at nostalgic straws like some of the later sequels have done.
It's clear that there an abundance of positives exuded by Prey, a prequel that no one was chomping at the bit for, but a film that absolutely blows it's predecessors out of the water. Dan Trachtenberg has proven that he can step into a franchise and give us something new before with 10 Cloverfield Lane, and this just cements that claim. Prey is a well realised, and well put together project that is arguably the best entry in the entire Predator franchise, and one can only hope that any future installments are handled in the same way.