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Darren (1599 KP) rated 300: Rise of an Empire (2014) in Movies
Jun 20, 2019
Story: 300: Rise of an Empire starts by right where the previous one finished with Xerxes (Santoro) taking the head of Leonidas. Queen Gorgo (Headey) is leading the next onslaught on the Persians.
I think we go prequel with Themistokles (Stapleton) leading the Greek army back against the Persians before they can take any of the Greek cities. The battle leads to the death of King Darius (Naor) leads to Artemisia (Green) and Xerxes son of Darius go on the revenge mission with Xerxes entering into the world of the Gods becoming a God King.
Themistokles goes to Sparta to build a united Greece while Xerxes is waiting for word from the messenger sent. We learn of Artemisia is Greek by descent and is out for revenge on any Greek person she finds after they raped and murdered her whole family. Themistokles builds his navy army for a battle on the sea against the Persian fleet leading to epic battles on the ocean. What follows is a string of battles each one with the other trying to get the upper hand.
Suffering a defeat Themistokles uses his defeat and the Spartans defeat as fuel to unite Greece once and for all as they take the battle to a conclusion once and for all.
300: Rise of an Empire does play the idea of following another side of the battle really well, mixing between the prequel elements and sequel elements. The main problem is that the scenes of the battles come off very confusing which is the main reason for the story. It does show the new historical legends even though they are lesser known names. It really ends up feeling like a forced sequel that has come too late after the first one. I feel this focuses too much on its action sequences and the story falls into the background after a while. (5/10)
Actor Review
Sullivan Stapleton: Themistokles Greek warrior who leads the navy fleet into battles on the sea against the Persians after he kills their King Darrius. Sullivan does give a good performance and looks the part. (7/10)
themstokles
Eva Green: Artemisia leader of the Persian naval unit who also plays Xerxes to go into combat the way she wants to win the war. Eva gives a good performance and makes for a great villainous role. (7/10)
green
Rodrigo Santoro: Xerxes God King of Persia who is at battle with the Spartans and the Greeks. Rodrigo gives a solid performance and has to get praised for the look he ends up having after the makeup. (7/10)
erxes
Support Cast: 300: Rise of an Empire has a huge support cast that are all warriors in either side of the battle.
Director Review: Noam Murro – Noam does a solid job directing making the action look very good but doesn’t pull the story through as much as he should be. (6/10)
Action: 300: Rise of an Empire can’t be denied about how good the action is even if the naval moments come off confusing at times. (8/10)
War: 300: Rise of an Empire really is one of the war films that really do end up putting the fantasy into legend. (7/10)
Settings: 300: Rise of an Empire creates settings that look the part for the time of the battles. (7/10)
Special Effects: 300: Rise of an Empire has great effects at time but slowly start to feel over used. (7/10)
Suggestion: 300: Rise of an Empire is one to be watched if you enjoyed the first one but not the most interesting for the first time viewer. (Fans Watch)
Best Part: Final battle looks good.
Worst Part: A Horse on a boat, really?
Action Scene Of The Film: Final Battle.
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: Left open for another sequel.
Post Credits Scene: No
Oscar Chances: No
Box Office: $337 Million
Budget: $110 Million
Runtime: 1 Hour 42 Minutes
Tagline: Seize your glory
Trivia: The original script featured King Leonidas from 300 (2006), but he was ultimately cut out. This was due to Gerard Butler, who turned down to reprise his role as Leonidas, since it “wasn’t really [his] thing”.
Overall: Sequel we didn’t really need
https://moviesreview101.com/2015/05/17/300-rise-of-an-empire-2014/
I think we go prequel with Themistokles (Stapleton) leading the Greek army back against the Persians before they can take any of the Greek cities. The battle leads to the death of King Darius (Naor) leads to Artemisia (Green) and Xerxes son of Darius go on the revenge mission with Xerxes entering into the world of the Gods becoming a God King.
Themistokles goes to Sparta to build a united Greece while Xerxes is waiting for word from the messenger sent. We learn of Artemisia is Greek by descent and is out for revenge on any Greek person she finds after they raped and murdered her whole family. Themistokles builds his navy army for a battle on the sea against the Persian fleet leading to epic battles on the ocean. What follows is a string of battles each one with the other trying to get the upper hand.
Suffering a defeat Themistokles uses his defeat and the Spartans defeat as fuel to unite Greece once and for all as they take the battle to a conclusion once and for all.
300: Rise of an Empire does play the idea of following another side of the battle really well, mixing between the prequel elements and sequel elements. The main problem is that the scenes of the battles come off very confusing which is the main reason for the story. It does show the new historical legends even though they are lesser known names. It really ends up feeling like a forced sequel that has come too late after the first one. I feel this focuses too much on its action sequences and the story falls into the background after a while. (5/10)
Actor Review
Sullivan Stapleton: Themistokles Greek warrior who leads the navy fleet into battles on the sea against the Persians after he kills their King Darrius. Sullivan does give a good performance and looks the part. (7/10)
themstokles
Eva Green: Artemisia leader of the Persian naval unit who also plays Xerxes to go into combat the way she wants to win the war. Eva gives a good performance and makes for a great villainous role. (7/10)
green
Rodrigo Santoro: Xerxes God King of Persia who is at battle with the Spartans and the Greeks. Rodrigo gives a solid performance and has to get praised for the look he ends up having after the makeup. (7/10)
erxes
Support Cast: 300: Rise of an Empire has a huge support cast that are all warriors in either side of the battle.
Director Review: Noam Murro – Noam does a solid job directing making the action look very good but doesn’t pull the story through as much as he should be. (6/10)
Action: 300: Rise of an Empire can’t be denied about how good the action is even if the naval moments come off confusing at times. (8/10)
War: 300: Rise of an Empire really is one of the war films that really do end up putting the fantasy into legend. (7/10)
Settings: 300: Rise of an Empire creates settings that look the part for the time of the battles. (7/10)
Special Effects: 300: Rise of an Empire has great effects at time but slowly start to feel over used. (7/10)
Suggestion: 300: Rise of an Empire is one to be watched if you enjoyed the first one but not the most interesting for the first time viewer. (Fans Watch)
Best Part: Final battle looks good.
Worst Part: A Horse on a boat, really?
Action Scene Of The Film: Final Battle.
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: Left open for another sequel.
Post Credits Scene: No
Oscar Chances: No
Box Office: $337 Million
Budget: $110 Million
Runtime: 1 Hour 42 Minutes
Tagline: Seize your glory
Trivia: The original script featured King Leonidas from 300 (2006), but he was ultimately cut out. This was due to Gerard Butler, who turned down to reprise his role as Leonidas, since it “wasn’t really [his] thing”.
Overall: Sequel we didn’t really need
https://moviesreview101.com/2015/05/17/300-rise-of-an-empire-2014/
Movie Metropolis (309 KP) rated Mad Max: Fury Road (2015) in Movies
Jun 10, 2019
Cinematic Redbull
Up until a week ago, I was really looking forward to this film. Mad Max as a series has a criminally underestimated impact on our pop culture psyche thanks to its unique aesthetic. Everyone now knows exactly what they want to do in the event of the apocalypse; strap dustbin lids and S&M gear to our bodies.
Then I remembered that other recent reboot of a beloved 80’s sci-fi film, 2014’s Robocop. Specifically, I remembered that it was absolutely awful, a broken train-wreck of a movie that doesn’t understand and full on resents the original film, and drained all the personality out of a film bursting with it. 2012’s Total Recall shared similar problems, so the question came; would this modern reboot of an 80’s genre classic be the first of its kind to match the quality of the original?
The answer is no. It is far, far better.
The original Mad Max films each had the budget of a school nativity play and relied entirely on the scrapyard aesthetic and charismatic villains rather than action. Fury Road, on the other hand, is the cinematic equivalent of Red Bull; fast paced, frenetic and wild. The action sequences are almost constant, only broken up when the audience’s hearts are about to burst, accompanied by one of the most energetic and brilliant soundtracks I’ve ever heard. In the hands of a lesser filmmaker it would be too much to handle, but Miller makes sure to frame and edit each scene in a way that allows the audience to always follow the action.
Visually, the film is much more in line with Alejandro Jodorowsky’s failed Dune adaptation than anything else, with its deformed mutants, impractical clothes and grungy mechanics. Every image on screen is madder than the last; the audience will probably ask “Why does that guy have a flamethrower guitar?” or “Why is there a fat dude in a business suit with his nipples exposed?” and the film just says “Because you wanted to see it and didn’t know you did.” And it is totally right. Like Big Game, the landscapes are achingly beautiful too, turning a barren desert into a sea of colours.
The plot is utter gibberish; there is absolutely no reason that any series of events would lead to the world looking the way it does and the characters looking and acting the way they do. Most films would be ashamed of this and try to handwave it away or explain it; Fury Road, however, takes the smarter option, and full on embraces the insanity. Characters spout lines like “I have seen the three gates” and “You will ride with silver and chrome” without irony, and it all just works, sweeping the audience up into a world where logic is superfluous as long as what you’re saying is cool.
This wouldn’t work if the acting wasn’t on point, but every single actor is completely game for the madcap lunacy that is the
script. Everyone sings their lines, which might be nonsense but just sound so good. The only weak spot is Tom Hardy as Max himself, who tries to be a calming anchor to contrast everyone else but instead seems like he came out of a different, much more boring film. In fact, Max seems here only so the film can be called Mad Max, because really it is Charlize Theron’s movie; Imperator Furiosa is the true main character and Theron easily gives the most nuanced performance.
Upon seeing this film, I genuinely had to go for a jog to get all of the energy out of me. This film is mad glory from beginning to end, a fireworks show for the eyes and ears. One of the best action films of the year in an already good year for the genre. Certainly a much better reboot than Robocop. Now if you excuse me, I’m going to make a suit of armour out of washing machine parts and ball gags.
https://moviemetropolis.net/2015/05/19/cinematic-red-bull-mad-max-fury-road-review/
Then I remembered that other recent reboot of a beloved 80’s sci-fi film, 2014’s Robocop. Specifically, I remembered that it was absolutely awful, a broken train-wreck of a movie that doesn’t understand and full on resents the original film, and drained all the personality out of a film bursting with it. 2012’s Total Recall shared similar problems, so the question came; would this modern reboot of an 80’s genre classic be the first of its kind to match the quality of the original?
The answer is no. It is far, far better.
The original Mad Max films each had the budget of a school nativity play and relied entirely on the scrapyard aesthetic and charismatic villains rather than action. Fury Road, on the other hand, is the cinematic equivalent of Red Bull; fast paced, frenetic and wild. The action sequences are almost constant, only broken up when the audience’s hearts are about to burst, accompanied by one of the most energetic and brilliant soundtracks I’ve ever heard. In the hands of a lesser filmmaker it would be too much to handle, but Miller makes sure to frame and edit each scene in a way that allows the audience to always follow the action.
Visually, the film is much more in line with Alejandro Jodorowsky’s failed Dune adaptation than anything else, with its deformed mutants, impractical clothes and grungy mechanics. Every image on screen is madder than the last; the audience will probably ask “Why does that guy have a flamethrower guitar?” or “Why is there a fat dude in a business suit with his nipples exposed?” and the film just says “Because you wanted to see it and didn’t know you did.” And it is totally right. Like Big Game, the landscapes are achingly beautiful too, turning a barren desert into a sea of colours.
The plot is utter gibberish; there is absolutely no reason that any series of events would lead to the world looking the way it does and the characters looking and acting the way they do. Most films would be ashamed of this and try to handwave it away or explain it; Fury Road, however, takes the smarter option, and full on embraces the insanity. Characters spout lines like “I have seen the three gates” and “You will ride with silver and chrome” without irony, and it all just works, sweeping the audience up into a world where logic is superfluous as long as what you’re saying is cool.
This wouldn’t work if the acting wasn’t on point, but every single actor is completely game for the madcap lunacy that is the
script. Everyone sings their lines, which might be nonsense but just sound so good. The only weak spot is Tom Hardy as Max himself, who tries to be a calming anchor to contrast everyone else but instead seems like he came out of a different, much more boring film. In fact, Max seems here only so the film can be called Mad Max, because really it is Charlize Theron’s movie; Imperator Furiosa is the true main character and Theron easily gives the most nuanced performance.
Upon seeing this film, I genuinely had to go for a jog to get all of the energy out of me. This film is mad glory from beginning to end, a fireworks show for the eyes and ears. One of the best action films of the year in an already good year for the genre. Certainly a much better reboot than Robocop. Now if you excuse me, I’m going to make a suit of armour out of washing machine parts and ball gags.
https://moviemetropolis.net/2015/05/19/cinematic-red-bull-mad-max-fury-road-review/
Movie Metropolis (309 KP) rated King Arthur: Legend Of The Sword (2017) in Movies
Jun 10, 2019
Schrodinger's Film
There is a thought experiment that is used to help make sense of the Copenhagen Interpretation of Quantum Mechanics. Say you have a cat, a box and a fragile vial of poison. You put the cat and the poison in the box knowing that the vial may break, you lunatic.
At this point, so goes the thought experiment, until we can perceive whether or not the cat is dead, the cat is dead AND alive simultaneously, and it is only when you look into the box that you know whether you have a friend for life or a Korean meal.
I bring this up because I often insist that I prefer a bad movie with great moments than a movie that’s adequate across the board, but Guy Ritchie’s most recent film certainly puts that to the test. It’s almost my favourite film of the year but is full of nigh-unforgiveable blunders that I don’t think I can watch it again. But I don’t regret seeing it. King Arthur is both good and not good and the cat is still in the box.
Well, I might as well start with what’s good about the film. For one, the character of Arthur himself has a pretty interesting arc. Normally interpretations of the Arthur myth focus on the King bit, so despite it being yet another origin story, it at least is for a character who rarely gets one, and it’s an interesting spin on the reluctant hero arc.
In addition, the world itself feels like it desperately needs a hero. You get the sense that this world is falling apart, which is much better than some other chosen one narratives like Harry Potter, where even when Voldemort took over the wizarding world he didn’t seem to do anything. Also, this is a fantasy film that isn’t just Lord of the Rings again, but a more Celtic mystic mythology that is ripe for exploration.
Then there’s Jude Law, who is so moustache-twirlingly evil that he’s hilarious. He’s clearly having the time of his life playing this cartoon super villain and making him campy enough to be fun while still threatening and compelling when he needs to be.
Shame about the rest of the cast, who all have the same personality, that of “Ah’m just one o’ tha lads, apples and pears, apples and pears.” It’s like a Chelsea game but set in the Dark Ages. So it’s identical to a Chelsea game. The only exception is Astrid Frizbee’s mage, whose intense magic power is so devastating that she manages to put a sleep spell on the audience every time she opens her noise-hole and lets out a monotone bored drone.
There’s also the action, and Hollywood, we need to talk. I thought that shaky cam was just a phase, but I’ve seen you doing it again, and you need to stop. I’ve played VR games where you do nothing but ride particularly unstable cows and came out the other end less motion sick than your sword fighting scenes. Come on, you’re better than this, and we just what’s best for you, so just buy a steady-cam already.
Maybe it’s Guy Ritchie himself, though. Nothing in the film seems to last longer than three minutes aside Arthur’s whining. Sometimes it works, like the very snappy but informative way we see Arthur grow from stupid baby to stupid adult, and sometimes it’s stupid, like when an entire other movie’s worth of content gets squashed into an uninspired montage.
But that’s the great dilemma; the montages are good and bad, like the movie itself. You will only enjoy the movie if you enjoy the movie but if you don’t then you won’t. I write this piece a defeated critic, ladies and gentlemen. Is it worth seeing? I don’t really know. A bigger fan of Guy Ritchie or quantum mechanics than I will probably get something out of it and there are worse movies out there, but it also can’t help but disappoint somehow. The cat isn’t dead, but it has a bit of a cold.
https://moviemetropolis.net/2017/05/25/schrodingers-film-king-arthur-legend-of-the-sword-review/
At this point, so goes the thought experiment, until we can perceive whether or not the cat is dead, the cat is dead AND alive simultaneously, and it is only when you look into the box that you know whether you have a friend for life or a Korean meal.
I bring this up because I often insist that I prefer a bad movie with great moments than a movie that’s adequate across the board, but Guy Ritchie’s most recent film certainly puts that to the test. It’s almost my favourite film of the year but is full of nigh-unforgiveable blunders that I don’t think I can watch it again. But I don’t regret seeing it. King Arthur is both good and not good and the cat is still in the box.
Well, I might as well start with what’s good about the film. For one, the character of Arthur himself has a pretty interesting arc. Normally interpretations of the Arthur myth focus on the King bit, so despite it being yet another origin story, it at least is for a character who rarely gets one, and it’s an interesting spin on the reluctant hero arc.
In addition, the world itself feels like it desperately needs a hero. You get the sense that this world is falling apart, which is much better than some other chosen one narratives like Harry Potter, where even when Voldemort took over the wizarding world he didn’t seem to do anything. Also, this is a fantasy film that isn’t just Lord of the Rings again, but a more Celtic mystic mythology that is ripe for exploration.
Then there’s Jude Law, who is so moustache-twirlingly evil that he’s hilarious. He’s clearly having the time of his life playing this cartoon super villain and making him campy enough to be fun while still threatening and compelling when he needs to be.
Shame about the rest of the cast, who all have the same personality, that of “Ah’m just one o’ tha lads, apples and pears, apples and pears.” It’s like a Chelsea game but set in the Dark Ages. So it’s identical to a Chelsea game. The only exception is Astrid Frizbee’s mage, whose intense magic power is so devastating that she manages to put a sleep spell on the audience every time she opens her noise-hole and lets out a monotone bored drone.
There’s also the action, and Hollywood, we need to talk. I thought that shaky cam was just a phase, but I’ve seen you doing it again, and you need to stop. I’ve played VR games where you do nothing but ride particularly unstable cows and came out the other end less motion sick than your sword fighting scenes. Come on, you’re better than this, and we just what’s best for you, so just buy a steady-cam already.
Maybe it’s Guy Ritchie himself, though. Nothing in the film seems to last longer than three minutes aside Arthur’s whining. Sometimes it works, like the very snappy but informative way we see Arthur grow from stupid baby to stupid adult, and sometimes it’s stupid, like when an entire other movie’s worth of content gets squashed into an uninspired montage.
But that’s the great dilemma; the montages are good and bad, like the movie itself. You will only enjoy the movie if you enjoy the movie but if you don’t then you won’t. I write this piece a defeated critic, ladies and gentlemen. Is it worth seeing? I don’t really know. A bigger fan of Guy Ritchie or quantum mechanics than I will probably get something out of it and there are worse movies out there, but it also can’t help but disappoint somehow. The cat isn’t dead, but it has a bit of a cold.
https://moviemetropolis.net/2017/05/25/schrodingers-film-king-arthur-legend-of-the-sword-review/
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Heather Cranmer (2721 KP) rated Altered (Crewel World, #2) in Books
Jun 7, 2018
(This review can be found on my blog <a href="http://themisadventuresofatwentysomething.blogspot.com/">The (Mis)Adventures of a Twenty-Something Year Old Girl</a>).
First off, I don't think Altered would work as a stand alone novel, so therefore, I'd suggest reading Crewel first so as not to be too confused. Oh, and if you haven't read Crewel, this review may contain some spoilers for it.
I really enjoyed Crewel, the first book in this series. I'd been wanting to read Altered since I finished Crewel. While this book takes a different direction from Crewel, I still really enjoyed it.
I like the title. It suits the book rather well. Even the Earth in this book has been altered from the Earth we know.
I really love the cover! I love the photo off Adelice within the whole sand timer thing. Adelice is running on borrowed time, and the cover depicts this perfectly.
The world building was done fantastically! It is quite a different world then that of Arras. Yes, I know it takes place on Earth, but this is a post apocalyptic type Earth with a sort of alternate history. In fact, there is one famous figure from history who makes an appearance in Altered which I didn't expect.
The pacing was done really well, and I was instantly drawn back into Adelice's world. I never wanted to put the book down!
Again, the plot is very original. I was confused a little bit through out the book, but I think that was because it had been awhile since I had read Crewel (well over a year ago). I had to try to remember how Adelice can weave and her abilities. Saying that though, I did enjoy the whole plot throughout especially the whole alternate history take. The cliff hanger at the end of this book leave it open for another book in the seires (which I will be reading). There's also the whole love triangle with Jost and Eric again. With the last book, I was team Jost, but this book, I was team Eric!
Again, Albin does a fantastic job in writing well developed characters. Adelice feels like she's grown a lot emotionally in this book. She's more of a stronger female lead and less sarcastic in this book. Jost, to me, shows his true colors in Altered. We also get to learn more about Eric and his background. We are also introduced to another baddie in this book named Kincaid. Kincaid is more of a snake in the grass compared to Cormac who was an up front, in your face, sleazeball.
The dialogue is fantastic and never once feels awkward. I don't remember any swear words, and there is minor violence.
Overall, Altered is a much different book from its predecessor, but that's not a bad thing. There's more gritty, fast paced action as well as a whole new cast of characters.
I'd recommend this book to those aged 14+ who are into science fiction and post apocalyptic worlds.
<center><b>I'd give Altered (Crewel World #2) by Gennifer Albin a 4.75 out of 5.</b></center>
(I won this hardback book in a competition. I was not required to write a review).
First off, I don't think Altered would work as a stand alone novel, so therefore, I'd suggest reading Crewel first so as not to be too confused. Oh, and if you haven't read Crewel, this review may contain some spoilers for it.
I really enjoyed Crewel, the first book in this series. I'd been wanting to read Altered since I finished Crewel. While this book takes a different direction from Crewel, I still really enjoyed it.
I like the title. It suits the book rather well. Even the Earth in this book has been altered from the Earth we know.
I really love the cover! I love the photo off Adelice within the whole sand timer thing. Adelice is running on borrowed time, and the cover depicts this perfectly.
The world building was done fantastically! It is quite a different world then that of Arras. Yes, I know it takes place on Earth, but this is a post apocalyptic type Earth with a sort of alternate history. In fact, there is one famous figure from history who makes an appearance in Altered which I didn't expect.
The pacing was done really well, and I was instantly drawn back into Adelice's world. I never wanted to put the book down!
Again, the plot is very original. I was confused a little bit through out the book, but I think that was because it had been awhile since I had read Crewel (well over a year ago). I had to try to remember how Adelice can weave and her abilities. Saying that though, I did enjoy the whole plot throughout especially the whole alternate history take. The cliff hanger at the end of this book leave it open for another book in the seires (which I will be reading). There's also the whole love triangle with Jost and Eric again. With the last book, I was team Jost, but this book, I was team Eric!
Again, Albin does a fantastic job in writing well developed characters. Adelice feels like she's grown a lot emotionally in this book. She's more of a stronger female lead and less sarcastic in this book. Jost, to me, shows his true colors in Altered. We also get to learn more about Eric and his background. We are also introduced to another baddie in this book named Kincaid. Kincaid is more of a snake in the grass compared to Cormac who was an up front, in your face, sleazeball.
The dialogue is fantastic and never once feels awkward. I don't remember any swear words, and there is minor violence.
Overall, Altered is a much different book from its predecessor, but that's not a bad thing. There's more gritty, fast paced action as well as a whole new cast of characters.
I'd recommend this book to those aged 14+ who are into science fiction and post apocalyptic worlds.
<center><b>I'd give Altered (Crewel World #2) by Gennifer Albin a 4.75 out of 5.</b></center>
(I won this hardback book in a competition. I was not required to write a review).
JT (287 KP) rated In Time (2011) in Movies
Mar 10, 2020
I wanted to like this, I really did, but it was a film that failed to go anywhere, and time just slipped away to the end credits. Justin Timberlake is a likeable character, and more favourable as an actor I would say, although he’s certainly got a decent voice as we all know – here, he was singing a bit flat.
He’s immersed in a world where time is literally money, where people are engineered to live one more year after twenty-five. Unless you’re part of the rich elite who enjoy an elongated life of decade after decade, living in another time zone across the city or you’re scrapping for your life in the slums begging for every last second.
The film has a unique plot, but it’s executed poorly, Timberlake’s character Will Salas is implicated in the death of a rich socialite with a lot of time on his hands, of which he gives to Will, then ends his life rather abruptly with nothing more than a ‘don’t waste my time’ scrawled on a window pane.
There may be more to this than meets the eye, but it’s never really delved into with any great conviction. So we’re left with Salas on the run from Raymond Leon (Murphy) a timekeeper with a past, of which is again never touched on too much. Salas has one more trick up his sleeve and takes hostage Sylvia Weis (Seyfried) the daughter of a wealthy businessman, and never was there more a wasted character.
The pair then turn into some kind of Bonnie and Clyde, or Robin Hood and Maid Marian, stealing time from the rich and giving to the poor.
This film was the perfect platform for some potentially futuristic action, but director Andrew Niccol is happy enough to choreograph a few abject car chases and a few punches thrown. Instead we’re left with the poor on screen romance of Salas and Weis which in all honesty is not in the least bit convincing, after a while you’ll be looking down at your own watch and the time ticking past.
Niccol has left a huge amount of questions unanswered, such as why was time replaced by money in the first place? Quite a big question in the grand scheme of things, maybe he just ran out of time?
He’s immersed in a world where time is literally money, where people are engineered to live one more year after twenty-five. Unless you’re part of the rich elite who enjoy an elongated life of decade after decade, living in another time zone across the city or you’re scrapping for your life in the slums begging for every last second.
The film has a unique plot, but it’s executed poorly, Timberlake’s character Will Salas is implicated in the death of a rich socialite with a lot of time on his hands, of which he gives to Will, then ends his life rather abruptly with nothing more than a ‘don’t waste my time’ scrawled on a window pane.
There may be more to this than meets the eye, but it’s never really delved into with any great conviction. So we’re left with Salas on the run from Raymond Leon (Murphy) a timekeeper with a past, of which is again never touched on too much. Salas has one more trick up his sleeve and takes hostage Sylvia Weis (Seyfried) the daughter of a wealthy businessman, and never was there more a wasted character.
The pair then turn into some kind of Bonnie and Clyde, or Robin Hood and Maid Marian, stealing time from the rich and giving to the poor.
This film was the perfect platform for some potentially futuristic action, but director Andrew Niccol is happy enough to choreograph a few abject car chases and a few punches thrown. Instead we’re left with the poor on screen romance of Salas and Weis which in all honesty is not in the least bit convincing, after a while you’ll be looking down at your own watch and the time ticking past.
Niccol has left a huge amount of questions unanswered, such as why was time replaced by money in the first place? Quite a big question in the grand scheme of things, maybe he just ran out of time?
BankofMarquis (1832 KP) rated The Kitchen (2019) in Movies
May 17, 2020
Thinly written and directed
A rainy weekend is the perfect time to catch up with films that I meant to see in the Cineplex, but just didn't get around to it. So it was with some excitement that I flipped on the "Women Run The Mafia" movie THE KITCHEN from 2019.
I should have watched 21 BRIDGES.
Based on the DC/VERTIGO graphic novel, THE KITCHEN is set in the late 1970's in NYC and offers up the "what if" scenario of 3 women that take over the Mafia. A pretty interesting premise that could have been the GODFATHER or GOODFELLA's of the day (or...at least...another WIDOWS from 2018), but instead THE KITCHEN falls flat like the all female GHOSTBUSTERS from a few year's ago.
A star of that Ghostbuster's film, Melissa McCarthy leads the cast as Kathy Brennan, the wife of a mobster who was sent to jail and becomes the leader of the group. McCarthy has shown that she has the "chops" as an actress to tackle this role, but she never really gets there. There is no real depth or emotional stakes to her character throughout the course of the film. The screenplay (and McCarthy's performance) does pick up at the end, but by then, it is too little, too late. Also not fairing well is comedienne Tiffany Hadish as Ruby O'Carroll - an African-American female trying to dominate in a predominately white male world. Again...this character had potential, but the writing and, quite frankly, Hadish's performance just didn't quite succeed.
What did succeed is the always excellent Elisabeth Moss as the 3rd part of this triumvirate. Her "mousy, abused housewife turned stone cold killer" was interesting to watch - especially when paired with Domhnall Gleeson's assassin about 1/2 way through the movie. I wanted to watch a movie with these 2 criminals on the run.
I've mentioned the weak writing as part the issue here, so I'll have to mention first time Veteran Writer and first-time Director Andrea Berloff as the main culprit here. She wrote STRAIGHT OUTTA COMPTON so she has it in her, but here, the screenplay and characterizations are "thin". Perhaps, a good Director could have made something out of this, but she also made her Directing debut with this film, so it just didn't work well enough.
This isn't a bad film, it just isn't a very good - or very interesting - one.
Letter Grade B- (for the Moss/Gleeson portion of this film)
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
I should have watched 21 BRIDGES.
Based on the DC/VERTIGO graphic novel, THE KITCHEN is set in the late 1970's in NYC and offers up the "what if" scenario of 3 women that take over the Mafia. A pretty interesting premise that could have been the GODFATHER or GOODFELLA's of the day (or...at least...another WIDOWS from 2018), but instead THE KITCHEN falls flat like the all female GHOSTBUSTERS from a few year's ago.
A star of that Ghostbuster's film, Melissa McCarthy leads the cast as Kathy Brennan, the wife of a mobster who was sent to jail and becomes the leader of the group. McCarthy has shown that she has the "chops" as an actress to tackle this role, but she never really gets there. There is no real depth or emotional stakes to her character throughout the course of the film. The screenplay (and McCarthy's performance) does pick up at the end, but by then, it is too little, too late. Also not fairing well is comedienne Tiffany Hadish as Ruby O'Carroll - an African-American female trying to dominate in a predominately white male world. Again...this character had potential, but the writing and, quite frankly, Hadish's performance just didn't quite succeed.
What did succeed is the always excellent Elisabeth Moss as the 3rd part of this triumvirate. Her "mousy, abused housewife turned stone cold killer" was interesting to watch - especially when paired with Domhnall Gleeson's assassin about 1/2 way through the movie. I wanted to watch a movie with these 2 criminals on the run.
I've mentioned the weak writing as part the issue here, so I'll have to mention first time Veteran Writer and first-time Director Andrea Berloff as the main culprit here. She wrote STRAIGHT OUTTA COMPTON so she has it in her, but here, the screenplay and characterizations are "thin". Perhaps, a good Director could have made something out of this, but she also made her Directing debut with this film, so it just didn't work well enough.
This isn't a bad film, it just isn't a very good - or very interesting - one.
Letter Grade B- (for the Moss/Gleeson portion of this film)
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
Kristy H (1252 KP) rated Eleanor Oliphant Is Completely Fine in Books
Dec 24, 2017
funny (3 more)
heartbreaking
tender
beautiful
Eleanor Oliphant leads a simple, albeit lonely, life. Up in the morning, head to work, and heads down at the office (with a solo break for lunch and the crossword). She spends her evenings and weekends alone--typically with a book, the TV, and a lot vodka. Every Wednesday evening, she speaks on the phone with her mother (Mummy)-- always a painful conversation as her mother is judgemental and exacting. Then one day, Eleanor and Raymond, the slightly oafish IT guy from her office, save the elderly Sammy, who has fallen on the sidewalk. The act turns out to change Eleanor's life--bringing her into Sammy's life and that of his boisterous family--and involving her more with Raymond, as well. Suddenly, it's almost as if Eleanor and Raymond are friends and Eleanor isn't completely lonely anymore. But can her friendship with Raymond erase the sadness in her life?
This book, oh this book. Wow, what a journey. I'm so very glad I finally picked it up. Where do I even begin? First of all, Honeyman captures the voice of Eleanor perfectly. I was honestly a bit surprised when I started this one. I'd been expecting a slightly quirky character (a la the lead in THE ROSIE PROJECT), but there's far more depth and darkness to Eleanor (and her tale) than I imagined. It took me a little longer to get into the story, but once I was: wow. You can visualize Eleanor and her supporting cast so clearly. Raymond comes across effortlessly too. The plot is striking-- an amazing combination of heartbreaking and tender. My heart truly broke for dear Eleanor at times.
I was intrigued by the fact that there's no real huge story, per se, to this novel--it's just Eleanor finding her way in the world. As mentioned, Eleanor and Raymond assist Sammy, and this jolts Eleanor out of her life built around routine and sameness. Forced to come out of her shell, she suddenly sees some things in a new light--her appearance, her job, her friendships (or lack thereof), her apartment, and more. The way Honeyman presents the world--through Eleanor's eyes--is uncanny. I cannot describe how well she captures her diction and how aghast Eleanor is sometimes by the world around her (dirty books from the library, people who waste her time with conversation, the food people eat and how they eat, etc.).
At the same time, you realize how much Eleanor is formed by her childhood, or lack thereof, and it's just... striking. How Honeyman gets this all across in words is amazing. The unexpected darkness and sadness that comes across in the novel and the added layer of suspense she casts as we ponder Eleanor's tragic childhood: it's chilling. The entire book is mesmerizing and beautiful.
That's not to say the book isn't funny or enjoyable, too. Eleanor is her own person, and she's witty and true to her self, for sure. You will find yourself rooting for her personality quirks (of which there are many) and all. If Eleanor's attempts to understand the world don't tug at your heartstrings, I'm not sure anything will (and I'm pretty tough nut to crack when reading, mind you). I was worried that perhaps the moral would be that Eleanor would have to change herself to find happiness, but no, I don't think that was Honeyman's ultimate intent, even if Eleanor does make some "improvements" along the way. (I won't say more for risk of spoilers.) Also, I loved Raymond, as well; his mother; Glen (!!!!); and so many other parts of the story that made me smile. Seriously, even with its sad parts, this book just makes you happy.
Ultimately, this is lovely book, with beautiful, well-written characters. The tale of Eleanor Oliphant will stay with me for a long time, and I'm so glad I finally decided to read this book. Honeyman is an excellent writer, her depiction of Eleanor is gorgeous and heart-rendering and the few flaws I found with this were so minor, as I was left just awed by the end. One of my favorites so far this year.
This book, oh this book. Wow, what a journey. I'm so very glad I finally picked it up. Where do I even begin? First of all, Honeyman captures the voice of Eleanor perfectly. I was honestly a bit surprised when I started this one. I'd been expecting a slightly quirky character (a la the lead in THE ROSIE PROJECT), but there's far more depth and darkness to Eleanor (and her tale) than I imagined. It took me a little longer to get into the story, but once I was: wow. You can visualize Eleanor and her supporting cast so clearly. Raymond comes across effortlessly too. The plot is striking-- an amazing combination of heartbreaking and tender. My heart truly broke for dear Eleanor at times.
I was intrigued by the fact that there's no real huge story, per se, to this novel--it's just Eleanor finding her way in the world. As mentioned, Eleanor and Raymond assist Sammy, and this jolts Eleanor out of her life built around routine and sameness. Forced to come out of her shell, she suddenly sees some things in a new light--her appearance, her job, her friendships (or lack thereof), her apartment, and more. The way Honeyman presents the world--through Eleanor's eyes--is uncanny. I cannot describe how well she captures her diction and how aghast Eleanor is sometimes by the world around her (dirty books from the library, people who waste her time with conversation, the food people eat and how they eat, etc.).
At the same time, you realize how much Eleanor is formed by her childhood, or lack thereof, and it's just... striking. How Honeyman gets this all across in words is amazing. The unexpected darkness and sadness that comes across in the novel and the added layer of suspense she casts as we ponder Eleanor's tragic childhood: it's chilling. The entire book is mesmerizing and beautiful.
That's not to say the book isn't funny or enjoyable, too. Eleanor is her own person, and she's witty and true to her self, for sure. You will find yourself rooting for her personality quirks (of which there are many) and all. If Eleanor's attempts to understand the world don't tug at your heartstrings, I'm not sure anything will (and I'm pretty tough nut to crack when reading, mind you). I was worried that perhaps the moral would be that Eleanor would have to change herself to find happiness, but no, I don't think that was Honeyman's ultimate intent, even if Eleanor does make some "improvements" along the way. (I won't say more for risk of spoilers.) Also, I loved Raymond, as well; his mother; Glen (!!!!); and so many other parts of the story that made me smile. Seriously, even with its sad parts, this book just makes you happy.
Ultimately, this is lovely book, with beautiful, well-written characters. The tale of Eleanor Oliphant will stay with me for a long time, and I'm so glad I finally decided to read this book. Honeyman is an excellent writer, her depiction of Eleanor is gorgeous and heart-rendering and the few flaws I found with this were so minor, as I was left just awed by the end. One of my favorites so far this year.
Craig Brewer recommended Purple Rain (1984) in Movies (curated)
Mark @ Carstairs Considers (2346 KP) rated Spiders from Mars in Books
May 20, 2020
Free Neptune!
It’s been four months since we last checked in with Sylvia Stryker, and in that time, she’s had one thing on her mind – freeing Neptune, her mentor and friend, from prison for a crime he sort of committed. She’s come up with the perfect plan, too. She’s going to have him declared dead so she can slip him out of prison. However, when she goes to file the paperwork, she learns that there has been a murder in the prison and Neptune is the only suspect. Her original plan out the window, she has to act fast to free him and clear his name before he disappears for good. Can she do it?
Yes, this sounds like many of the cozy mysteries I read a love, but there is a twist to it – Sylvia’s adventures all take place in space. The setting is fun and detailed, but it never takes away from the action. I got lost in Sylvia’s world very quickly, and I suspect you will as well whether you love science fiction or not. The plot is fast paced with plenty of twists and turns. Unfortunately, a few of them were a bit abrupt. The story makes sense in the end, but I wish things had been explained a bit more. The characters, some human and some alien, are all fully developed, and I was thrilled to get to spend more time with them. If you are interested in something new and different, be sure to check out this series, and if you are already a fan, you’ll be happy with Sylvia’s latest case.
Yes, this sounds like many of the cozy mysteries I read a love, but there is a twist to it – Sylvia’s adventures all take place in space. The setting is fun and detailed, but it never takes away from the action. I got lost in Sylvia’s world very quickly, and I suspect you will as well whether you love science fiction or not. The plot is fast paced with plenty of twists and turns. Unfortunately, a few of them were a bit abrupt. The story makes sense in the end, but I wish things had been explained a bit more. The characters, some human and some alien, are all fully developed, and I was thrilled to get to spend more time with them. If you are interested in something new and different, be sure to check out this series, and if you are already a fan, you’ll be happy with Sylvia’s latest case.