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Gareth von Kallenbach (980 KP) rated Harry Potter and the Deathly Hallows - Part 2 (2011) in Movies
Aug 7, 2019
My anticipation for the second part of Harry Potter and the Deathly Hallows, much like my anticipation of Part 1, was accompanied by great reluctance to witness the culmination of 10 years of storytelling.
Opening exactly where Part 1 left off, we find Harry, Hermione and Ron continuing on their quest to locate the remaining Horcruxes, objects in which Harry’s nemesis, Lord Voldemort (Ralph Fiennes) has implanted a part of his soul. Destruction of these Horcruxes help weaken Voldemort. Polyjuice, goblins and a dragon ride provide some humor and thrills and eventually leads to the trios’ return to Hogwarts, where Alan Rickman’s Severus Snape is now the hated headmaster. Voldemort has attained the powerful Elder Wand and has turned his evil sights on the school in hopes of drawing Harry out. Along with his questionably loyal Deatheaters, they surround Hogwarts and prepare to attack.
At times the storytelling is a bit slow, at times too abrupt. While the special Harry Potter 3D glasses were amusing, I didn’t notice any spectacular effects that would warrant the extra charge to watch this movie in 3D. As is the case for converted 3D movies, the effects are more of a distracting afterthought than a real enhancement. For those not familiar with the books, the storylines may be a bit convoluted but your patience will be rewarded. Daniel Radcliffe’s matured Harry Potter is grim and resolute, his best friends Hermione and Ron (Emma Watson and Rupert Grinch) are aptly desperate but determined. Taking a stand with them, wile making their cinematic curtain call, are many of their Hogwarts professors, their classmates in Dumbldore’s Army and their mentors in the Order of the Phoenix. There are more heartwrenching moments than heartwarming parts as Harry learns more about the events surrounding his existence and what he must do to defeat Voldemort.
Few books, and far fewer movie adaptations, have captured the hearts of such a loyal and enthusiastic fanbase. The valiant attempts by directors Chris Columbus, Alfonso Cuaron, Mike Newell and, lastly, David Yates, to recreate the vast, enchanting wizarding world imagined by J.K. Rowling, have deservedly garnered the franchise a loyal and enthusiastic fanbase. Yet, as lush and vivid as the movies have been, they only touched on some of the best parts of the books. Needless to say, I wasn’t expecting perfection. But what I saw in Part 2 was pretty darn close. While movie adaptations of beloved stories will always leave serious fans wanting more, Deathly Hallows Part 2 is a fitting finale to this epic tale.
Opening exactly where Part 1 left off, we find Harry, Hermione and Ron continuing on their quest to locate the remaining Horcruxes, objects in which Harry’s nemesis, Lord Voldemort (Ralph Fiennes) has implanted a part of his soul. Destruction of these Horcruxes help weaken Voldemort. Polyjuice, goblins and a dragon ride provide some humor and thrills and eventually leads to the trios’ return to Hogwarts, where Alan Rickman’s Severus Snape is now the hated headmaster. Voldemort has attained the powerful Elder Wand and has turned his evil sights on the school in hopes of drawing Harry out. Along with his questionably loyal Deatheaters, they surround Hogwarts and prepare to attack.
At times the storytelling is a bit slow, at times too abrupt. While the special Harry Potter 3D glasses were amusing, I didn’t notice any spectacular effects that would warrant the extra charge to watch this movie in 3D. As is the case for converted 3D movies, the effects are more of a distracting afterthought than a real enhancement. For those not familiar with the books, the storylines may be a bit convoluted but your patience will be rewarded. Daniel Radcliffe’s matured Harry Potter is grim and resolute, his best friends Hermione and Ron (Emma Watson and Rupert Grinch) are aptly desperate but determined. Taking a stand with them, wile making their cinematic curtain call, are many of their Hogwarts professors, their classmates in Dumbldore’s Army and their mentors in the Order of the Phoenix. There are more heartwrenching moments than heartwarming parts as Harry learns more about the events surrounding his existence and what he must do to defeat Voldemort.
Few books, and far fewer movie adaptations, have captured the hearts of such a loyal and enthusiastic fanbase. The valiant attempts by directors Chris Columbus, Alfonso Cuaron, Mike Newell and, lastly, David Yates, to recreate the vast, enchanting wizarding world imagined by J.K. Rowling, have deservedly garnered the franchise a loyal and enthusiastic fanbase. Yet, as lush and vivid as the movies have been, they only touched on some of the best parts of the books. Needless to say, I wasn’t expecting perfection. But what I saw in Part 2 was pretty darn close. While movie adaptations of beloved stories will always leave serious fans wanting more, Deathly Hallows Part 2 is a fitting finale to this epic tale.
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Matthew Krueger (10051 KP) rated House of Frankenstein (1944) in Movies
Jun 18, 2020 (Updated Jun 18, 2020)
Get The Gang All Together: The Crossover
House of Frankenstein- is the ultimate monster crossover. It has Frankenstein, Dracula played by John Carradine, the Hunchback and the Wolf-Man played by Lon Chaney Jr. and a mad scientist played by Boris Karloff.
This "monster rally" approach would continue in the following film, House of Dracula, as well as the 1948 comedy Abbott and Costello Meet Frankenstein.
The plot: After escaping from prison, the evil Dr. Niemann (Boris Karloff) and his hunchbacked assistant, Daniel (J. Carrol Naish), plot their revenge against those who imprisoned them. For this, they recruit the powerful Wolf Man (Lon Chaney), Frankenstein's monster (Glenn Strange) and even Dracula himself (John Carradine). Niemann pursues those who wrong him, sending each monster out to do his dirty work. But his control on the monsters is weak at best and may prove to be his downfall.
Frankenstein Meets the Wolf Man (1943) had been the first on-screen pairing of two Universal Studios monsters, but The House of Frankenstein was the first multi-monster movie. Early drafts of the story reportedly involved more characters from the Universal stable, including the Mummy, the Ape Woman, the Mad Ghoul, and possibly the Invisible Man. Working titles—which included Chamber of Horrors (a reference to Lampini's travelling horror show) and The Devil's Brood—emphasized the multi-monster nature of the story.
The multi-monster approach, which emphasized box office appeal over continuity, was used in House of Dracula the following year and later in Abbott and Costello Meet Frankenstein. The House of Frankenstein marked Glenn Strange's debut as the monster. Strange, a former cowboy, had been a minor supporting player in dozens of low-budget Westerns over the preceding 15 years. He reprised the role in House of Dracula and Abbott and Costello Meet Frankenstein, and cemented the popular image of the monster as shambling, clumsy, and inarticulate. Boris Karloff, who had moved on from playing the monster to playing the mad scientist, reportedly coached Strange on how to play the role.
Some continuity errors are evident in the finished film. After Dracula is thrown from the carriage, he looks over to where his coffin has landed; in a close-up, part of his mustache is gone. Also, when Talbot transforms into the Wolf Man for the final time, his hands lack fur.
Karloff's performance in this film is his last in Universal's classic horror cycle.
Its a fun entertaining movie starring the uninversal monsters.
This "monster rally" approach would continue in the following film, House of Dracula, as well as the 1948 comedy Abbott and Costello Meet Frankenstein.
The plot: After escaping from prison, the evil Dr. Niemann (Boris Karloff) and his hunchbacked assistant, Daniel (J. Carrol Naish), plot their revenge against those who imprisoned them. For this, they recruit the powerful Wolf Man (Lon Chaney), Frankenstein's monster (Glenn Strange) and even Dracula himself (John Carradine). Niemann pursues those who wrong him, sending each monster out to do his dirty work. But his control on the monsters is weak at best and may prove to be his downfall.
Frankenstein Meets the Wolf Man (1943) had been the first on-screen pairing of two Universal Studios monsters, but The House of Frankenstein was the first multi-monster movie. Early drafts of the story reportedly involved more characters from the Universal stable, including the Mummy, the Ape Woman, the Mad Ghoul, and possibly the Invisible Man. Working titles—which included Chamber of Horrors (a reference to Lampini's travelling horror show) and The Devil's Brood—emphasized the multi-monster nature of the story.
The multi-monster approach, which emphasized box office appeal over continuity, was used in House of Dracula the following year and later in Abbott and Costello Meet Frankenstein. The House of Frankenstein marked Glenn Strange's debut as the monster. Strange, a former cowboy, had been a minor supporting player in dozens of low-budget Westerns over the preceding 15 years. He reprised the role in House of Dracula and Abbott and Costello Meet Frankenstein, and cemented the popular image of the monster as shambling, clumsy, and inarticulate. Boris Karloff, who had moved on from playing the monster to playing the mad scientist, reportedly coached Strange on how to play the role.
Some continuity errors are evident in the finished film. After Dracula is thrown from the carriage, he looks over to where his coffin has landed; in a close-up, part of his mustache is gone. Also, when Talbot transforms into the Wolf Man for the final time, his hands lack fur.
Karloff's performance in this film is his last in Universal's classic horror cycle.
Its a fun entertaining movie starring the uninversal monsters.
LeftSideCut (3776 KP) rated Iron Man 2 (2010) in Movies
Jul 10, 2020
Ever since Captain America: The Winter Soldier, Marvel Studios have pretty much been on a hot streak. It's easy to forget that this titan of a movie house still had to finds its feet once upon a time, and unfortunately they do have a handful of underwhelming titles in their arsenal.
Iron Man 2 is in of these titles, and whilst bit a far cry from a bad movie, the formula wasn't quite there yet.
It's main issues comes from the writing I think. The plot dates to tackle issues such as Tony Stark's trouble with alcohol, a result of slowly being poisoned by the very mechanism that's keeping him alive. He hits rock bottom, pisses off everyone he loves, creates a new element (in probably the most ridiculously convoluted and stupid scene in the MCU) and somewhere amongst all this, there's some big dumb superhero action.
As much as I admire this route, the balance is off, and a big chunk of the movie gets bigger down by these issues.
The side plot that involves a B list villain Whiplash is a nice touch, but it's ultimately wasted in yet another ending brawl that features the hero against an evil version of himself, the second Iron Man film to be released and the second Iron Man film to feature a final boss in a bigger Iron Man suit. It just doesn't feel over imaginative.
It's not all bad though - Iron Man 2 boasts an incredible cast of talent. Robert Downey Jr. and Gwyneth Paltrow of course return from the first movie. Mickey Rourke is the aforementioned Whiplash (I find it hard to dislike Mickey Rourke in general), Don Cheadle takes over the mantle of War Machine, and of course we get the first appearance for Scarlett Johansson as Black Widow.
And a big reason why Iron Man 2 is better than it should be is down to the always fantastic Sam Rockwell. He plays secondary villain Justin Hammer and he oozes charisma, and fits in effortlessly opposite Downey Jr.
Other than that, the effects still hold up for the most part, and the set pieces are fun - the racing track scene is a particular highlight, and its always a treat to see the wider MCU being established as the main plot chugs along.
Iron Man 2 isn't as good as it's predecessor, and is at the lower and of the MCU quality spectrum, but there's still a lot to enjoy if you switch off a bit.
Iron Man 2 is in of these titles, and whilst bit a far cry from a bad movie, the formula wasn't quite there yet.
It's main issues comes from the writing I think. The plot dates to tackle issues such as Tony Stark's trouble with alcohol, a result of slowly being poisoned by the very mechanism that's keeping him alive. He hits rock bottom, pisses off everyone he loves, creates a new element (in probably the most ridiculously convoluted and stupid scene in the MCU) and somewhere amongst all this, there's some big dumb superhero action.
As much as I admire this route, the balance is off, and a big chunk of the movie gets bigger down by these issues.
The side plot that involves a B list villain Whiplash is a nice touch, but it's ultimately wasted in yet another ending brawl that features the hero against an evil version of himself, the second Iron Man film to be released and the second Iron Man film to feature a final boss in a bigger Iron Man suit. It just doesn't feel over imaginative.
It's not all bad though - Iron Man 2 boasts an incredible cast of talent. Robert Downey Jr. and Gwyneth Paltrow of course return from the first movie. Mickey Rourke is the aforementioned Whiplash (I find it hard to dislike Mickey Rourke in general), Don Cheadle takes over the mantle of War Machine, and of course we get the first appearance for Scarlett Johansson as Black Widow.
And a big reason why Iron Man 2 is better than it should be is down to the always fantastic Sam Rockwell. He plays secondary villain Justin Hammer and he oozes charisma, and fits in effortlessly opposite Downey Jr.
Other than that, the effects still hold up for the most part, and the set pieces are fun - the racing track scene is a particular highlight, and its always a treat to see the wider MCU being established as the main plot chugs along.
Iron Man 2 isn't as good as it's predecessor, and is at the lower and of the MCU quality spectrum, but there's still a lot to enjoy if you switch off a bit.
Kristy H (1252 KP) rated Do No Harm in Books
Feb 25, 2021
A dark look into how far a mother would go to save her child
After a tough childhood, where she was orphaned and spent time in foster care, Emma finally has the life she's always wanted. A successful doctor, she has a loving husband, Nate, and a young son, Josh. But that all stands to change when Josh, who is only five, is diagnosed with leukemia. Even with her hospital insurance, Josh's potential life-saving treatment will cost hundreds of thousands of dollars. Determined to save Josh no matter what, Emma makes the decision to sell opioids. Her choice puts her directly against Nate, a local police officer, who is investigating the death of a potential drug dealer. Emma will do anything to save Josh--does that include murder?
"I felt like I'd been dropped down a rabbit hole with the wolf sitting right outside. And the wolf was my husband."
This is a brutal dark read that pulls you into Emma and Nate's dilemma immediately. Personally, I found it hard to read about Josh's illness. I have a difficult time with books about kids being sick. But, McDonald is an excellent writer, and she does a wonderful job portraying stricken parents, pushed to the brink, who would do anything for their child. For Emma, it's turning to selling drugs. For Nate, it's working constantly to solve his current case, which means a promotion that could brings additional money for their family. The story is told from each of their perspectives, ratcheting up the tension with each chapter.
Emma, it seems, really has no limits on what she would do for Josh. McDonald makes the reader question: how far would you go to save your child? The book also offers a nuanced perspective on the opioid crisis, versus the usual "drugs bad" stance we get in many novels, which I appreciated. The entire novel makes you think and question standard perspectives in so many ways. It turns good versus evil and right versus wrong on its heels. And it offers a dark and insightful look into drug addiction and chronic pain and how families support each other (or don't).
Overall, this isn't an easy read, but it's a well-written and compelling one. It's timely, with an excellent perspective on the drug problems facing Americans and leaves the reader questioning much about right versus wrong. 4 stars.
I received a copy of this book from Gallery Books and Netgalley in return for an unbiased review. It is available on 2/16/2021.
"I felt like I'd been dropped down a rabbit hole with the wolf sitting right outside. And the wolf was my husband."
This is a brutal dark read that pulls you into Emma and Nate's dilemma immediately. Personally, I found it hard to read about Josh's illness. I have a difficult time with books about kids being sick. But, McDonald is an excellent writer, and she does a wonderful job portraying stricken parents, pushed to the brink, who would do anything for their child. For Emma, it's turning to selling drugs. For Nate, it's working constantly to solve his current case, which means a promotion that could brings additional money for their family. The story is told from each of their perspectives, ratcheting up the tension with each chapter.
Emma, it seems, really has no limits on what she would do for Josh. McDonald makes the reader question: how far would you go to save your child? The book also offers a nuanced perspective on the opioid crisis, versus the usual "drugs bad" stance we get in many novels, which I appreciated. The entire novel makes you think and question standard perspectives in so many ways. It turns good versus evil and right versus wrong on its heels. And it offers a dark and insightful look into drug addiction and chronic pain and how families support each other (or don't).
Overall, this isn't an easy read, but it's a well-written and compelling one. It's timely, with an excellent perspective on the drug problems facing Americans and leaves the reader questioning much about right versus wrong. 4 stars.
I received a copy of this book from Gallery Books and Netgalley in return for an unbiased review. It is available on 2/16/2021.