Search
Search results
Shaun Collins (3 KP) rated Star Wars: Vader Down in Books
Jan 12, 2018
Vader goes from hunter to hunted in this crossover event from Marvel.
Firstly, "crossover" is a bit of a misnomer, since he's already a character in STAR WARS, but the idea was to broad strokes fill in some of the details of what he was doing when he wasn't on camera. Since these series are set between New Hope and Empire, there's a lot more wiggle room. Secondly, crossover events tend to be gimmicky and difficult for comic readers to track since they span multiple titles. Fortunately, there are only two titles here to deal with, so its a bit easier, but it still took some detective work to figure out the individual issues involved.
* VERY MILD SPOILERS (like the kind on a dust jacket) FOLLOW...
Okay, with the rant over, lets get to the good stuff. This book was good. This is really the first time we've seen the fearsome dark lord of the Sith AS a fearsome dark lord of the Sith, and not a broken down mechanical mystery monster who is really just a shadow of his former legendary self. This feels more like Anakin at the height of his powers, just evil. Alone on a planet with an entire battalion of Rebels on his trail, and Imperial agents who want to usurp him close behind, he's not worried, phased or hell even concerned. They're just dead men to him, and he tells them as much. This Vader is BAD-ASS.
Unfortunately, the counter plot to the Vader story is lighter in tone (and normally when those characters show up in the Vader comic I'm exceedingly happy for their brief forays into comedy to lighten up the proceedings), but here they are over used and quite honestly, detract from the bloodbath the Emperor's Fist finds himself in. While a dose of comedy can be welcome, this feels like the authors were trying too hard, and the result comes out as very uneven. Especially when the subject of the humor is Han. Han should be cool and unintentionally funny when things don't go his way, not bungling Mr. Bean style funny because he's inept.
Bottom line, the plot drove me through the rough spots, and I still think this is a great series, I only hope the luster is not starting to tarnish on this one, but that's what this volume feels like...
Firstly, "crossover" is a bit of a misnomer, since he's already a character in STAR WARS, but the idea was to broad strokes fill in some of the details of what he was doing when he wasn't on camera. Since these series are set between New Hope and Empire, there's a lot more wiggle room. Secondly, crossover events tend to be gimmicky and difficult for comic readers to track since they span multiple titles. Fortunately, there are only two titles here to deal with, so its a bit easier, but it still took some detective work to figure out the individual issues involved.
* VERY MILD SPOILERS (like the kind on a dust jacket) FOLLOW...
Okay, with the rant over, lets get to the good stuff. This book was good. This is really the first time we've seen the fearsome dark lord of the Sith AS a fearsome dark lord of the Sith, and not a broken down mechanical mystery monster who is really just a shadow of his former legendary self. This feels more like Anakin at the height of his powers, just evil. Alone on a planet with an entire battalion of Rebels on his trail, and Imperial agents who want to usurp him close behind, he's not worried, phased or hell even concerned. They're just dead men to him, and he tells them as much. This Vader is BAD-ASS.
Unfortunately, the counter plot to the Vader story is lighter in tone (and normally when those characters show up in the Vader comic I'm exceedingly happy for their brief forays into comedy to lighten up the proceedings), but here they are over used and quite honestly, detract from the bloodbath the Emperor's Fist finds himself in. While a dose of comedy can be welcome, this feels like the authors were trying too hard, and the result comes out as very uneven. Especially when the subject of the humor is Han. Han should be cool and unintentionally funny when things don't go his way, not bungling Mr. Bean style funny because he's inept.
Bottom line, the plot drove me through the rough spots, and I still think this is a great series, I only hope the luster is not starting to tarnish on this one, but that's what this volume feels like...
Gareth von Kallenbach (971 KP) rated Get Out (2017) in Movies
Jul 12, 2019
ritten and directed by Jordan Peele, “Get Out” is not so much an actual horror film but more of a dark comedy. The plot is filled with political undertones, spotlighting awkward racial interactions that are shadowed by systemic inequality.
Chris Washington (Daniel Kaluuya) and Rose Armitage (Allison Williams) are a vibrant young couple living in the city. He’s a photographer. Not sure what she does. He’s black. She’s white. After dating for four months, Rose convinces Chris to go on a trip to meet her parents. Chris is apprehensive at first and skeptical about how her parents will react to meeting their daughter’s black boyfriend. Rose laughs that off and everything seems fine as they head to the country.
From this point forward the film starts to build in creepiness. It almost has the feel of an M. Night Shayamalan movie like “The Village.” As the plot develops, the audience knows they are supposed to be suspecting something creepy and sinister hiding behind images of normalcy. So everything begins to take on this feel. Rose’s family lives in a creepily perfect mansion in the country. They have a creepily quiet black groundskeeper and a creepily happy black maid.
Fortunately, two things save this film from becoming a hokey Shyamalan style disappointment. The plot is executed in a comedic fashion and it isn’t completely predictable.
The entire film balances a creepy-funny style. Moments of white people awkwardly trying to appear not-racist also build a suspenseful feeling that something darker is behind the surface.
Rose’s mom Missy (Catherine Keener) specializes in hypnosis. It quickly becomes clear that Missy is using mind control tactics to basically enslave black people. Under her spell, her victims take a psychological fall into a dark abyss and are left in a robotic state. It would have been nice if this aspect of the plot was given more screen time.
The film picks up pace when Rose’s parents host a “family” get together that actually turns out to be essentially a “slave” auction. It almost takes too much time to get to this point in the plot. A few more moments, and it would begin to feel like trudging through a repetitious build up. From here forward, it becomes pretty fast paced as Chris desperately tries to escape a horrific fate.
“Get Out” probably won’t actually scare anyone, but it is highly entertaining in a very dark way.
Chris Washington (Daniel Kaluuya) and Rose Armitage (Allison Williams) are a vibrant young couple living in the city. He’s a photographer. Not sure what she does. He’s black. She’s white. After dating for four months, Rose convinces Chris to go on a trip to meet her parents. Chris is apprehensive at first and skeptical about how her parents will react to meeting their daughter’s black boyfriend. Rose laughs that off and everything seems fine as they head to the country.
From this point forward the film starts to build in creepiness. It almost has the feel of an M. Night Shayamalan movie like “The Village.” As the plot develops, the audience knows they are supposed to be suspecting something creepy and sinister hiding behind images of normalcy. So everything begins to take on this feel. Rose’s family lives in a creepily perfect mansion in the country. They have a creepily quiet black groundskeeper and a creepily happy black maid.
Fortunately, two things save this film from becoming a hokey Shyamalan style disappointment. The plot is executed in a comedic fashion and it isn’t completely predictable.
The entire film balances a creepy-funny style. Moments of white people awkwardly trying to appear not-racist also build a suspenseful feeling that something darker is behind the surface.
Rose’s mom Missy (Catherine Keener) specializes in hypnosis. It quickly becomes clear that Missy is using mind control tactics to basically enslave black people. Under her spell, her victims take a psychological fall into a dark abyss and are left in a robotic state. It would have been nice if this aspect of the plot was given more screen time.
The film picks up pace when Rose’s parents host a “family” get together that actually turns out to be essentially a “slave” auction. It almost takes too much time to get to this point in the plot. A few more moments, and it would begin to feel like trudging through a repetitious build up. From here forward, it becomes pretty fast paced as Chris desperately tries to escape a horrific fate.
“Get Out” probably won’t actually scare anyone, but it is highly entertaining in a very dark way.
Awix (3310 KP) rated On Chesil Beach (2018) in Movies
Jun 1, 2018
Bleak British Repressed Sexuality a Go Go!
Handsomely mounted BBC film starts off looking like many another period-set literary adaptation, then turns into something rather different. Newlyweds Edward and Florence are on the brink of their wedding night; both are nervous, and struggling with the expectations society and their upbringing has placed upon them. (The fact that society hasn't bothered to educate them in the slightest about what can, or should, go on in the bedroom really doesn't help on this voyage into, or possibly out of, virgin territory.) Not all goes to plan; a small but genuine tragedy unfolds.
Not the kind of film you walk home from whistling, unless you're some kind of militant celibacy advocate, but an undeniably fine one (or so it seems to me): very good performances from the young stars, and well-judged direction. Initially the film seems like a slightly dark comedy-drama of manners (the excruciating scenes of people failing to have sex are very awkward to watch), but it develops into something profoundly moving and deeply sad before the end. Thank God for the permissive society.
Not the kind of film you walk home from whistling, unless you're some kind of militant celibacy advocate, but an undeniably fine one (or so it seems to me): very good performances from the young stars, and well-judged direction. Initially the film seems like a slightly dark comedy-drama of manners (the excruciating scenes of people failing to have sex are very awkward to watch), but it develops into something profoundly moving and deeply sad before the end. Thank God for the permissive society.
Blake Jenner recommended Rebel Without a Cause (1955) in Movies (curated)
Elijah Wood recommended Delicatessen (1992) in Movies (curated)
LeftSideCut (3778 KP) rated The Rocky Horror Picture Show (1975) in Movies
Dec 21, 2020
I've reviewed a few musicals here and there, and always feel I need to make a comment about how I don't really like musicals in general... The Rocky Horror Picture Show is of course a huge tight wearing exception to this stubborn rule of thumb I have.
TRHPS is just a blast from start to finish. Richard O'brien's song writing is top notch - it's clever, catchy, cheesy when it needs to be, funny, and classy.
Pretty much every character is iconic, none more so than Tim Curry's Frank-N-Furter, easily the most sympathetic, enthralling, occasionally psychopathic mad transvestite scientist to ever grace a cinema screen - definitely in my top 10 movie characters of all time.
Beneath all of the absurdity is a solid narrative, that is equal parts weird and tragic, and manages to meld together B-Movie schlock, Universal Monsters vibes, dark comedy, rock n' roll, and cheesy horror, and does it all phenomenally well. It's a joy to watch all these years later.
Rocky Horror was ahead of its time in many ways, and is the ultimate cult movie. It's a damn masterpiece.
TRHPS is just a blast from start to finish. Richard O'brien's song writing is top notch - it's clever, catchy, cheesy when it needs to be, funny, and classy.
Pretty much every character is iconic, none more so than Tim Curry's Frank-N-Furter, easily the most sympathetic, enthralling, occasionally psychopathic mad transvestite scientist to ever grace a cinema screen - definitely in my top 10 movie characters of all time.
Beneath all of the absurdity is a solid narrative, that is equal parts weird and tragic, and manages to meld together B-Movie schlock, Universal Monsters vibes, dark comedy, rock n' roll, and cheesy horror, and does it all phenomenally well. It's a joy to watch all these years later.
Rocky Horror was ahead of its time in many ways, and is the ultimate cult movie. It's a damn masterpiece.
Awix (3310 KP) rated The Farewell (2019) in Movies
Oct 2, 2019
Faintly oddball comedy-drama successfully pulls off that trick of looking like being about one thing but actually covering lots of ground. Chinese matriarch is found to have terminal cancer; in accordance with local tradition the family keep her in the dark about this but organise a fake wedding as an excuse to get together one last time. New York-based scion of the family Awkwafina, grand-daughter of the dying woman, is very doubtful of the ethicality of this.
You expect a film about grief, and to some extent this is one, although it's really a chronicle of grief foretold, as the characters anticipate a loss to come. It's also about cultural differences, family life, and the way in which people routinely tell lies to each other every single day simply in order to keep life livable. The film skates along over the top of all this and treats it all with a light and delicate touch. Not an absolute tear-jerker, I thought, but there are some very touching moments (then again, I may be emotionally atrophied, who knows). Not a huge amount actually happens but the film has clearly been made with intelligence and skill.
You expect a film about grief, and to some extent this is one, although it's really a chronicle of grief foretold, as the characters anticipate a loss to come. It's also about cultural differences, family life, and the way in which people routinely tell lies to each other every single day simply in order to keep life livable. The film skates along over the top of all this and treats it all with a light and delicate touch. Not an absolute tear-jerker, I thought, but there are some very touching moments (then again, I may be emotionally atrophied, who knows). Not a huge amount actually happens but the film has clearly been made with intelligence and skill.
RəX Regent (349 KP) rated Four Lions (2010) in Movies
Mar 7, 2019
The fine between comedy and tragedy...
Contains spoilers, click to show
I can remember first hearing about this early in 2010, and was unsure as what to expect. On one hand this could have been a nasty hate film, mocking the wave of Muslim extremism which is taking a firm hold in this country, merely for the entertainment value, or this could be one of the important satires on the subject to date.
It was by far, without a shadow of doubt, the latter. Four Lions follows five amateur, lackluster Muslims from Sheffield who all believe that they are a primed terror cell on the frontline of the war against the infidels. Unfortunately for them, they are bunglers, whilst achieving the ability to create explosives, they have failed to control how and when it explodes! The plot culminates with an attempt to attack the London Marathon but it is a long road, taking our protagonists to the terror camps of Pakistan, and the town halls of Sheffield. This film is written and directed so expertly, it is literally frightening.
Morris and his pitch perfect cast deliver a film which so perfectly walks the razor wire tightrope between comedy and tragedy that every laugh is tinged with sadness or pity and every dark moment, seemingly comedic.
Is this a comedy? Decidedly not, but is this funny, and intentionally so? Yes. It's almost as if the laughs are out of sheer relief, as moments which should shock are delivered or followed up by some of the most profoundly realistic and yet ridiculous conversions.
The Lion King explanation for the war against the west; The almost horrifically callous 'Honey Monster' exchange as a police sniper may well have just shot an innocent civilian will stick in your mind. Let alone more simple humour, such as the eating of the sim cards to prevent tracking, which resembled the Catholic method of taking of the bread at mass.
But this was also about grooming: Grooming the audience to sympathise with a terror cell plotting in our midst was genius, whist having to watch the various methods employed within the group itself, leading to some of the films most poignant and tragic moments.
The disenfranchised Muslim population of this country have been captured so well, though portrayed on one hand as been dimwitted 'wanna-be terrorists', but on the other as real people, miss led with some of the most ridiculous concepts designed to reduce their lives to that of mediocrity in order to convince them to take so many others. This is a sympathetic peace movie in a time of great confusion and conflict.
Until now, United 93 was the film which had most summed up the dark times in which we live, following 9/11, but this is at least on par with it and is a great addition to a long and significant catalogue of topical anti-establishment films, such as M.A.S.H. and Dr. Strangelove.
Not just highly recommended, but a MUST SEE!
It was by far, without a shadow of doubt, the latter. Four Lions follows five amateur, lackluster Muslims from Sheffield who all believe that they are a primed terror cell on the frontline of the war against the infidels. Unfortunately for them, they are bunglers, whilst achieving the ability to create explosives, they have failed to control how and when it explodes! The plot culminates with an attempt to attack the London Marathon but it is a long road, taking our protagonists to the terror camps of Pakistan, and the town halls of Sheffield. This film is written and directed so expertly, it is literally frightening.
Morris and his pitch perfect cast deliver a film which so perfectly walks the razor wire tightrope between comedy and tragedy that every laugh is tinged with sadness or pity and every dark moment, seemingly comedic.
Is this a comedy? Decidedly not, but is this funny, and intentionally so? Yes. It's almost as if the laughs are out of sheer relief, as moments which should shock are delivered or followed up by some of the most profoundly realistic and yet ridiculous conversions.
The Lion King explanation for the war against the west; The almost horrifically callous 'Honey Monster' exchange as a police sniper may well have just shot an innocent civilian will stick in your mind. Let alone more simple humour, such as the eating of the sim cards to prevent tracking, which resembled the Catholic method of taking of the bread at mass.
But this was also about grooming: Grooming the audience to sympathise with a terror cell plotting in our midst was genius, whist having to watch the various methods employed within the group itself, leading to some of the films most poignant and tragic moments.
The disenfranchised Muslim population of this country have been captured so well, though portrayed on one hand as been dimwitted 'wanna-be terrorists', but on the other as real people, miss led with some of the most ridiculous concepts designed to reduce their lives to that of mediocrity in order to convince them to take so many others. This is a sympathetic peace movie in a time of great confusion and conflict.
Until now, United 93 was the film which had most summed up the dark times in which we live, following 9/11, but this is at least on par with it and is a great addition to a long and significant catalogue of topical anti-establishment films, such as M.A.S.H. and Dr. Strangelove.
Not just highly recommended, but a MUST SEE!
Charlie Cobra Reviews (1840 KP) rated The Boys in TV
Jul 7, 2020
A Gritty Superhero Drama With Equal Parts Dark Comedy, Blood And Violence
The Boys is a 2019 black comedy/action/superhero/drama web tv series developed by Eric Kripke for Amazon. It was produced by Sony Pictures Television, Amazon Studios, Kripke Enterprises, Point Grey Pictures, Original Film, Kickstart Entertainment and KFL Knightsky Productions. Executive producters on the show include Erick Kripke, Seth Rogen, Evan Goldberg, James Weaver, Neal H. Moritz, Pavun Shetty, Ori Marmur, Dan Trachtenberg, Ken. F. Levin and Jason Netter. The series stars actors Karl Urban, Jack Quaid, Anthony Starr, Erin Moriarty, Dominique McElligot and Jessie T. Usher.
Hugh "Hughie" Campbell (Jack Quaid) is a regular guy living in a city where superpowered people are recognized as heroes by the general public and owned by a powerful corporation Vought International, which markets and monetizes them. Outside of their heroic personas, these heroes are arrogant and corrupt, none more so than the Seven, Vought's premier superhero team. After his girlfriend is killed by A-Train (Jessie T. Usher), one of the Seven, Hughie is sought out by Billy Butcher (Karl Urban), a man who despises all superpowered people, and whose goal is to "spank the bastards when they get out of line".
This show is awesome. I was blown away by how much I liked it and binged watched it in one day. It reminded me of Watchmen a little bit in how it was a darker version of a superhero world. I really liked how it balanced the dark comedy with the violence and pacing of the plot. It was incredibly violent though, with lots of blood and gore. The acting was really good too with the actors being believable in their roles. I enjoyed the character development from several of the characters like Hughie and Starlight. Even the Deep, who I disliked was able to make me feel sorry for him in a couple of parts. The special effects were pretty top notch and I hardly noticed anything I didn't think fit or stuck out in a wrong way. The twists in the plot as the story progressed really kept me into it. It also had a lot of emotional scenes that I didn't think it would. There were a couple of things that bothered me like when a character acted out of character or did something that I didn't understand their motivations, and also the weird relationship between Homelander and Madelynn Stillwell. The latter of which you have more understanding towards the end. The only thing that really disappointed me was that there were only 8 episodes for the season. I almost gave this show a 9 but like I said there were a couple of things that I didn't like with it, still I give this show a 8/10. It also gets my "Must See Seal Of Approval". You really got to check this show out if you haven't seen it.
Hugh "Hughie" Campbell (Jack Quaid) is a regular guy living in a city where superpowered people are recognized as heroes by the general public and owned by a powerful corporation Vought International, which markets and monetizes them. Outside of their heroic personas, these heroes are arrogant and corrupt, none more so than the Seven, Vought's premier superhero team. After his girlfriend is killed by A-Train (Jessie T. Usher), one of the Seven, Hughie is sought out by Billy Butcher (Karl Urban), a man who despises all superpowered people, and whose goal is to "spank the bastards when they get out of line".
This show is awesome. I was blown away by how much I liked it and binged watched it in one day. It reminded me of Watchmen a little bit in how it was a darker version of a superhero world. I really liked how it balanced the dark comedy with the violence and pacing of the plot. It was incredibly violent though, with lots of blood and gore. The acting was really good too with the actors being believable in their roles. I enjoyed the character development from several of the characters like Hughie and Starlight. Even the Deep, who I disliked was able to make me feel sorry for him in a couple of parts. The special effects were pretty top notch and I hardly noticed anything I didn't think fit or stuck out in a wrong way. The twists in the plot as the story progressed really kept me into it. It also had a lot of emotional scenes that I didn't think it would. There were a couple of things that bothered me like when a character acted out of character or did something that I didn't understand their motivations, and also the weird relationship between Homelander and Madelynn Stillwell. The latter of which you have more understanding towards the end. The only thing that really disappointed me was that there were only 8 episodes for the season. I almost gave this show a 9 but like I said there were a couple of things that I didn't like with it, still I give this show a 8/10. It also gets my "Must See Seal Of Approval". You really got to check this show out if you haven't seen it.
LeftSideCut (3778 KP) rated Krampus (2015) in Movies
Dec 15, 2020
Krampus is an absolute gem of a Christmas movie. It manages to pack in a bit of festive spirit, whilst simultaneously being a fun-as-hell horror ride, and has enough strikingly creepy imagery, ensuring it satisfies horror fans, and potentially a slightly younger audience at the same time.
The first third is sort of a comedy, as the characters are introduced against the familiar backdrop of having the dreaded experience of extended family over for the holidays. The cast are all great - Adam Scott, David Koechner, Allison Tolman, Conchata Ferrell and Krista Stacker all carve out personas with their own unique traits, and all do it in a relatble manner. The shining star is of course Toni Collette, who just manages to be fantastic in everything she's in, even a silly comedy horror like Krampus. The kid actors are great as well, especially Emjay Anthony as lead character Max.
When the horror starts to unfold, it's executed in a sort of gateway-horror style. It's fun enough to appeal to a younger audience as mentioned, but still has creepy moments. For instance, when the titular Krampus is first glimpsed, bounding across rooftops in a blizzard, it's a striking visual that manages to be quite haunting. The whole aesthetic is fantastic, festive one minute, dark and cold the next, with an almost Nightmare Before Christmas look to all of the monsters. Krampus himself looks horrifying when he is finally revealed in all his demonic yuletide glory. There's also an incredibly charming animated segment around the midway point that just adds even more to the overall experience.
If you're looking for an alternative Christmas movie, then you can do a lot worse than Krampus. It's hugely entertaining and memorable, and just a good time all round, and the best movie to include a scene involving murderous gingerbread men (sorry Gingerbread Man...)
The first third is sort of a comedy, as the characters are introduced against the familiar backdrop of having the dreaded experience of extended family over for the holidays. The cast are all great - Adam Scott, David Koechner, Allison Tolman, Conchata Ferrell and Krista Stacker all carve out personas with their own unique traits, and all do it in a relatble manner. The shining star is of course Toni Collette, who just manages to be fantastic in everything she's in, even a silly comedy horror like Krampus. The kid actors are great as well, especially Emjay Anthony as lead character Max.
When the horror starts to unfold, it's executed in a sort of gateway-horror style. It's fun enough to appeal to a younger audience as mentioned, but still has creepy moments. For instance, when the titular Krampus is first glimpsed, bounding across rooftops in a blizzard, it's a striking visual that manages to be quite haunting. The whole aesthetic is fantastic, festive one minute, dark and cold the next, with an almost Nightmare Before Christmas look to all of the monsters. Krampus himself looks horrifying when he is finally revealed in all his demonic yuletide glory. There's also an incredibly charming animated segment around the midway point that just adds even more to the overall experience.
If you're looking for an alternative Christmas movie, then you can do a lot worse than Krampus. It's hugely entertaining and memorable, and just a good time all round, and the best movie to include a scene involving murderous gingerbread men (sorry Gingerbread Man...)