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Sophia (Bookwyrming Thoughts) (530 KP) rated Becoming Darkness in Books
Jan 23, 2020
<b><i>I received this book for free from Publisher in exchange for an honest review. This does not affect my opinion of the book or the content of my review.</i></b>
Never have I ever read a book in which Hitler won World War II and succeeded in taking over the world.
Until now. I admit I'm a little fond of this one because of the whole alternative history thing going on right there, but I'm a little disturbed here, Lindsay Francis Brambles. You're as bad as Agatha Christie and came very close to killing everyone. Although technically, you did kill most of the characters that I grew fond of. Not cool. I don't think I can ever forgive you for this transgression of Trigger Happy Book. (More like Explosion Happy Book.)
But in the very long run, I only liked <i>Becoming Darkness</i> for a few things.
Sadistic as it may be, I did like how Brambles made Hitler won the second world war and unleashed a virus that made a lot of people turn into vampires all of that is told within the first few pages. Although the origins of Gemorrah (le virus) is revealed throughout the story and integrated in the plot, I still don't understand how the creators came up with that name in the first place. Does it mean something in German, or is it something they thought sounded sinister and cool and decided to go with it? In my humble opinion, it does not sound cool or sinister. It sounds like a Mary Poppins word.
I also really liked how Brambles didn't go completely off course from history there are some references to the war, there might be another significant historical figure who makes a cameo appearance (under a different name, but don't quote me), etc. Basically, there's not much that's thrown in completely off kilter aside from maybe the virus I still feel fishy about that.
Sophie Harkness does not take BS when there are boys hitting on her in the stupidest, cheesiest ways. Namely: "We're meant for one another because you're a girl, I'm a guy, and we have the parts to create phenomenal offspring." Sorry for the disturbing image, but that was very much implied by the character. Unfortunately for her, she sort of believes in love at first sight when she first met Val back when she was fourteen.
Sophie is also not a judgmental character she's very open-minded and believes vampires aren't exactly sinister blood sucking creatures. Every other Immune, those who can't get Gemorrah, are so judgmental and narrow-minded, it just peeves me greatly. It IS understandable, though, considering the year Brambles sets the book in.
Unfortunately, I didn't really like the whole flashbacks. For awhile in the beginning, it's a little confusing and I had to backtrack to make sure it was a flashback and not actually set in the present day. There's a "sort-of" warning and then we're in flashback mode that feels like it's set in the present but is really Sophie telling a story. On the bright side, all those flashbacks (and the journal entries written by Sophie's mom) all play a relevant role in the overall plot.
I also didn't really like Valentine. Though I eventually warmed up to him over the course of the book, something about him was really disturbing. He's not an annoying "stalker type" of character, but it IS a little weird he still tried to keep his connections to Sophie's family from grandma to mom to Sophie in the hopes of falling in love again. But considering the fact he's doesn't throw out stupidly cheesy lines at Sophie, I like him a little.
Have I mentioned I'm sick and tired of seeing the name Valentine over and over again in literature? We just can't get any more original than St. Valentine, can we?
I would totally summarize <i>Becoming Darkness</i> in a few words if only I didn't end up giving major spoilers. But in a nutshell, the book quite literally tells me all of us should be downright grateful the Third Reich didn't succeed. It also told me I'm royally screwed if the way to a man's heart is through his stomach, but I think I've established that in sixth grade with the whole Ramen Noodle Stove catastrophe.
<a href="https://bookwyrmingthoughts.com/arc-review-becoming-darkness-by-lindsay-francis-brambles/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Never have I ever read a book in which Hitler won World War II and succeeded in taking over the world.
Until now. I admit I'm a little fond of this one because of the whole alternative history thing going on right there, but I'm a little disturbed here, Lindsay Francis Brambles. You're as bad as Agatha Christie and came very close to killing everyone. Although technically, you did kill most of the characters that I grew fond of. Not cool. I don't think I can ever forgive you for this transgression of Trigger Happy Book. (More like Explosion Happy Book.)
But in the very long run, I only liked <i>Becoming Darkness</i> for a few things.
Sadistic as it may be, I did like how Brambles made Hitler won the second world war and unleashed a virus that made a lot of people turn into vampires all of that is told within the first few pages. Although the origins of Gemorrah (le virus) is revealed throughout the story and integrated in the plot, I still don't understand how the creators came up with that name in the first place. Does it mean something in German, or is it something they thought sounded sinister and cool and decided to go with it? In my humble opinion, it does not sound cool or sinister. It sounds like a Mary Poppins word.
I also really liked how Brambles didn't go completely off course from history there are some references to the war, there might be another significant historical figure who makes a cameo appearance (under a different name, but don't quote me), etc. Basically, there's not much that's thrown in completely off kilter aside from maybe the virus I still feel fishy about that.
Sophie Harkness does not take BS when there are boys hitting on her in the stupidest, cheesiest ways. Namely: "We're meant for one another because you're a girl, I'm a guy, and we have the parts to create phenomenal offspring." Sorry for the disturbing image, but that was very much implied by the character. Unfortunately for her, she sort of believes in love at first sight when she first met Val back when she was fourteen.
Sophie is also not a judgmental character she's very open-minded and believes vampires aren't exactly sinister blood sucking creatures. Every other Immune, those who can't get Gemorrah, are so judgmental and narrow-minded, it just peeves me greatly. It IS understandable, though, considering the year Brambles sets the book in.
Unfortunately, I didn't really like the whole flashbacks. For awhile in the beginning, it's a little confusing and I had to backtrack to make sure it was a flashback and not actually set in the present day. There's a "sort-of" warning and then we're in flashback mode that feels like it's set in the present but is really Sophie telling a story. On the bright side, all those flashbacks (and the journal entries written by Sophie's mom) all play a relevant role in the overall plot.
I also didn't really like Valentine. Though I eventually warmed up to him over the course of the book, something about him was really disturbing. He's not an annoying "stalker type" of character, but it IS a little weird he still tried to keep his connections to Sophie's family from grandma to mom to Sophie in the hopes of falling in love again. But considering the fact he's doesn't throw out stupidly cheesy lines at Sophie, I like him a little.
Have I mentioned I'm sick and tired of seeing the name Valentine over and over again in literature? We just can't get any more original than St. Valentine, can we?
I would totally summarize <i>Becoming Darkness</i> in a few words if only I didn't end up giving major spoilers. But in a nutshell, the book quite literally tells me all of us should be downright grateful the Third Reich didn't succeed. It also told me I'm royally screwed if the way to a man's heart is through his stomach, but I think I've established that in sixth grade with the whole Ramen Noodle Stove catastrophe.
<a href="https://bookwyrmingthoughts.com/arc-review-becoming-darkness-by-lindsay-francis-brambles/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Gareth von Kallenbach (971 KP) rated War of the Worlds (2005) in Movies
Aug 14, 2019
In a summer season of grand blockbusters, War of the Worlds” is perhaps the biggest dud in years, and is a failure of epic proportions. The film is a remake of the classic 1953 film of the same name which like the new one is inspired from the H.G. Wells novel of 1898.
The new version is directed by Steven Spielberg, and stars Tom Cruise as Ray Ferrier, a divorced dockworker who is spending some time with his estranged children, Robbie (Justin Chatwin), and Rachael (Dakota Fanning), while his ex-wife and her new husband take a trip.
The children are very cold to Ray as they feel they were dumped on their mother as Ray only cares about himself. When a series of freak electrical storms hits various cities around the world, Ray attempts to comfort his children who are disturbed by the storm as well as the fact that all electronic devices have ceased to function.
Ray leaves the children at home and ventures into the neighborhood and is soon facing a waking nightmare as giant machines burst from the ground laying waste to everything in their paths.
Ray gathers his family and flees in a working vehicle trying to stay one step ahead of the alien machines in an attempt to find safety and reunite the children with their mother in Boston.
As basic as the above plot outline is, it is pretty much the entire plot of the film. There is little else to it aside from a few interruptions such as the family seeking shelter in a couple of houses or facing an angry mob as they attempt to reach a ferry.
While a thin plot can be excused for many action films, what cannot be excused are the painfully bad lack of any excitement in the film and the lack of any compelling action or suspense.
We are supposed to believe that the world is being destroyed by the alien’s but aside from a few blasted bridges, and small buildings, we see a surprising lack of carnage. There are no sequences of classic landmarks being reduced to rubble, there are no scenes of vast armies locked in a desperate struggle against the invaders.
Instead, we get a sequence of helicopters firing, and a line of soldiers firing, but they never show us what they are shooting at, nor do we see the alien retaliation behind a bright explosion and a few vehicles emerging on fire. This is particularly frustrating when you consider that the 1954 version at least showed a few tanks being blasted outright.
Another issue I had with the film was the painfully obvious superimposed backdrops as during the films limited action scenes; the background was clearly inserted into the shot as it was so fuzzy that it did not fit in with the events in the foreground.
While I am willing to dismiss this as stylistic nitpicking what cannot be ignored is that for most of the films running length, the cast does little more than stand around waiting for something to happen.
There are no great segments of character development, no insight into why the aliens waited all this time to attack when they could have done so centuries earlier, why they want the planet, and numerous other plot holes, some of which are so glaring. One of my favorites was the guy who was able to use a video camera to record the opening attacks when it was clearly shown that all electronic devices were rendered useless.
Much has been made of Cruise’s recent off screen actions and I must say that those have been far more interesting and engaging than his performance here. Cruise spends the majority of the film in a wide-eyed gaze or frantically moving and yelling. His character like his annoyingly bratty daughter are so unsympathetic, I found myself hoping that the aliens would take them out and end our suffering.
I hate stated prior that I thought this film may have problems as in light of films such as “ID4”, the story would seem bland to modern audiences unless the action was increased and there was a dynamic story with interesting characters. Sadly all of those are missing from a film that also has one of the worst endings in recent history.
There is no build up, no final confrontation, no moment of high tension to get to the payoff; it just ends with a whimper. One would think that a grand battle or an effects royale is in store instead, it plays out in a very matter of fact fashion with shockingly little action or suspense.
I could go on and on, but suffice it to say that between the weak acting, tired, thin plot, and infrequent and underwhelming action and effects, this is a film that exists only due to the talents of Cruise and Spielberg., That being said, I have to wonder how and why they could not have picked a better product than this stale offering.
The new version is directed by Steven Spielberg, and stars Tom Cruise as Ray Ferrier, a divorced dockworker who is spending some time with his estranged children, Robbie (Justin Chatwin), and Rachael (Dakota Fanning), while his ex-wife and her new husband take a trip.
The children are very cold to Ray as they feel they were dumped on their mother as Ray only cares about himself. When a series of freak electrical storms hits various cities around the world, Ray attempts to comfort his children who are disturbed by the storm as well as the fact that all electronic devices have ceased to function.
Ray leaves the children at home and ventures into the neighborhood and is soon facing a waking nightmare as giant machines burst from the ground laying waste to everything in their paths.
Ray gathers his family and flees in a working vehicle trying to stay one step ahead of the alien machines in an attempt to find safety and reunite the children with their mother in Boston.
As basic as the above plot outline is, it is pretty much the entire plot of the film. There is little else to it aside from a few interruptions such as the family seeking shelter in a couple of houses or facing an angry mob as they attempt to reach a ferry.
While a thin plot can be excused for many action films, what cannot be excused are the painfully bad lack of any excitement in the film and the lack of any compelling action or suspense.
We are supposed to believe that the world is being destroyed by the alien’s but aside from a few blasted bridges, and small buildings, we see a surprising lack of carnage. There are no sequences of classic landmarks being reduced to rubble, there are no scenes of vast armies locked in a desperate struggle against the invaders.
Instead, we get a sequence of helicopters firing, and a line of soldiers firing, but they never show us what they are shooting at, nor do we see the alien retaliation behind a bright explosion and a few vehicles emerging on fire. This is particularly frustrating when you consider that the 1954 version at least showed a few tanks being blasted outright.
Another issue I had with the film was the painfully obvious superimposed backdrops as during the films limited action scenes; the background was clearly inserted into the shot as it was so fuzzy that it did not fit in with the events in the foreground.
While I am willing to dismiss this as stylistic nitpicking what cannot be ignored is that for most of the films running length, the cast does little more than stand around waiting for something to happen.
There are no great segments of character development, no insight into why the aliens waited all this time to attack when they could have done so centuries earlier, why they want the planet, and numerous other plot holes, some of which are so glaring. One of my favorites was the guy who was able to use a video camera to record the opening attacks when it was clearly shown that all electronic devices were rendered useless.
Much has been made of Cruise’s recent off screen actions and I must say that those have been far more interesting and engaging than his performance here. Cruise spends the majority of the film in a wide-eyed gaze or frantically moving and yelling. His character like his annoyingly bratty daughter are so unsympathetic, I found myself hoping that the aliens would take them out and end our suffering.
I hate stated prior that I thought this film may have problems as in light of films such as “ID4”, the story would seem bland to modern audiences unless the action was increased and there was a dynamic story with interesting characters. Sadly all of those are missing from a film that also has one of the worst endings in recent history.
There is no build up, no final confrontation, no moment of high tension to get to the payoff; it just ends with a whimper. One would think that a grand battle or an effects royale is in store instead, it plays out in a very matter of fact fashion with shockingly little action or suspense.
I could go on and on, but suffice it to say that between the weak acting, tired, thin plot, and infrequent and underwhelming action and effects, this is a film that exists only due to the talents of Cruise and Spielberg., That being said, I have to wonder how and why they could not have picked a better product than this stale offering.
Emma @ The Movies (1786 KP) rated Underwater (2020) in Movies
Mar 5, 2020
Underwater was in my top picks for February, it looked like a cross between Deep Rising, Alien and a selection of Doctor Who episodes... I was definitely in.
Down on a drilling station in the Mariana Trench the researchers and crew are thrown into chaos as an earthquake rips through the facility. Desperately trying to get to their escape pods the handful of remaining crew gather to assess their options. They're short on equipment and their best hope appears to be making it to another part of the complex, the only problem? It's 2 miles across the ocean floor... in the pitch black... without a craft. Oh, and unbeknownst to them, they're not alone.
The film does a great job of its opening, diagrams, reports and images of the station and their mission give us instant background which allows us to drop right into (what feels like) the middle of a scene. It reminds me of various monster movies with some of the recent Godzilla ones having similar montages, I like it because there's always something new to pick up when you watch the film again. The other thing the opening does is use sound in a very interesting way, the music builds and when we land in the station it instantly cuts and gives you a feeling of isolation. Sandwich that with the chaos of the earthquake soon after and it gives you a very odd and almost uncomfortable feeling.
While I was impressed by the opening I was also confused. There's a moment where you see a massive horror trope that doesn't actually go anywhere, it was like some strange red herring. It felt like a deliberate misdirect, but I have no idea what the purpose would have been for it.
My mixed feelings didn't end there, in the ensuing chaos we get a slow-motion shot of Stewart flying backwards in an explosion... it didn't fit with any of the style around it and was the last effect I expected to see.
Shortly after this I was dealt another blow when they access the last transmission from another part of the station. These are peak creature feature moments, cast get to gasp and scream in distress and it gives us a sneak peek of what's to come... what we got wasn't clear and wasn't intriguing. Underwater is a film filled with classic tropes of multiple genres and yet it doesn't seem to carry through with any of them.
As the cast get out into the water the film does start to pick up. Cutting from helmet cam footage to inside the suits with the characters starts to build some of that intrigue that's been missing. It gets a little more claustrophobic and finally feels like the films I'd been hoping for.
This whole section is filled with great moments because we're finally becoming aware of a presence with them. In some ways it reminds me of Blair Witch, it does well to hide from us what they're actually up against, it's just a shadow or a movement on the edge of the light. That really got me back on board.
But these feelings were fleeting. All the tension was broken again. I do wonder if someone went "the tension should come in waves... because... water". The constant up and down didn't work for me.
From this point on I didn't feel much for the film. It's clear from the building of the story how the film is going to end, and even the big reveal moments weren't exciting.
Kristen Stewart has been appearing in a lot of things recently and I've never been a big fan but I was looking forward to her in this off the back of the last couple of films I saw her in. The most I can say is it was fine, there weren't any moments I hated, there weren't any that wowed me. The same is true for most of the cast in fact. I enjoyed T.J. Miller's comedic role but the light-heartedness it brought also became a little frustrating as the scripting seemed unnecessarily crass at time.
I can't fault the effects, it felt right and the magnitude of what they created underwater, and how they filmed it felt solid. With a little less underwater and a little more creature though, I think they would have been on to something.
The rollercoaster ride this story went on left me exhausted. The momentum was repeatedly lost and the intrigue wasn't there to hook me in. I can tell you that I will watch it again though. I know, after I just moaned about it and everything! There's definitely something in this film and I'm still struggling as to the reasons why it didn't click more with me, it feels like this is one that might benefit from a second viewing.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/underwater-movie-review.html
Down on a drilling station in the Mariana Trench the researchers and crew are thrown into chaos as an earthquake rips through the facility. Desperately trying to get to their escape pods the handful of remaining crew gather to assess their options. They're short on equipment and their best hope appears to be making it to another part of the complex, the only problem? It's 2 miles across the ocean floor... in the pitch black... without a craft. Oh, and unbeknownst to them, they're not alone.
The film does a great job of its opening, diagrams, reports and images of the station and their mission give us instant background which allows us to drop right into (what feels like) the middle of a scene. It reminds me of various monster movies with some of the recent Godzilla ones having similar montages, I like it because there's always something new to pick up when you watch the film again. The other thing the opening does is use sound in a very interesting way, the music builds and when we land in the station it instantly cuts and gives you a feeling of isolation. Sandwich that with the chaos of the earthquake soon after and it gives you a very odd and almost uncomfortable feeling.
While I was impressed by the opening I was also confused. There's a moment where you see a massive horror trope that doesn't actually go anywhere, it was like some strange red herring. It felt like a deliberate misdirect, but I have no idea what the purpose would have been for it.
My mixed feelings didn't end there, in the ensuing chaos we get a slow-motion shot of Stewart flying backwards in an explosion... it didn't fit with any of the style around it and was the last effect I expected to see.
Shortly after this I was dealt another blow when they access the last transmission from another part of the station. These are peak creature feature moments, cast get to gasp and scream in distress and it gives us a sneak peek of what's to come... what we got wasn't clear and wasn't intriguing. Underwater is a film filled with classic tropes of multiple genres and yet it doesn't seem to carry through with any of them.
As the cast get out into the water the film does start to pick up. Cutting from helmet cam footage to inside the suits with the characters starts to build some of that intrigue that's been missing. It gets a little more claustrophobic and finally feels like the films I'd been hoping for.
This whole section is filled with great moments because we're finally becoming aware of a presence with them. In some ways it reminds me of Blair Witch, it does well to hide from us what they're actually up against, it's just a shadow or a movement on the edge of the light. That really got me back on board.
But these feelings were fleeting. All the tension was broken again. I do wonder if someone went "the tension should come in waves... because... water". The constant up and down didn't work for me.
From this point on I didn't feel much for the film. It's clear from the building of the story how the film is going to end, and even the big reveal moments weren't exciting.
Kristen Stewart has been appearing in a lot of things recently and I've never been a big fan but I was looking forward to her in this off the back of the last couple of films I saw her in. The most I can say is it was fine, there weren't any moments I hated, there weren't any that wowed me. The same is true for most of the cast in fact. I enjoyed T.J. Miller's comedic role but the light-heartedness it brought also became a little frustrating as the scripting seemed unnecessarily crass at time.
I can't fault the effects, it felt right and the magnitude of what they created underwater, and how they filmed it felt solid. With a little less underwater and a little more creature though, I think they would have been on to something.
The rollercoaster ride this story went on left me exhausted. The momentum was repeatedly lost and the intrigue wasn't there to hook me in. I can tell you that I will watch it again though. I know, after I just moaned about it and everything! There's definitely something in this film and I'm still struggling as to the reasons why it didn't click more with me, it feels like this is one that might benefit from a second viewing.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/underwater-movie-review.html
Lee (2222 KP) rated #Alive (2020) in Movies
Sep 11, 2020
The bar for South Korean zombie movies, or for any kind of zombie movie for that matter, was set exceptionally high when Train to Busan was released back in 2016. #Alive, which arrived on Netflix earlier this week, having premiered in its home country of South Korea back in June, had a lot to live up to. But by focusing primarily on just a single character, #Alive manages to deliver a quarantine story that we can all relate to after the chaos and uncertainty of 2020 and brings a touch of originality to a very familiar genre.
#Alive certainly doesn’t waste much time in dropping us straight into the zombie apocalypse. Young gamer Oh Joon-woo wakes up at 10 am, alone in the high-rise apartment that he shares with his parents. A note left by them tells us that they’ve gone away for a few days, leaving Oh Joon-woo to fend for himself. “Make sure you pick up some groceries”, his mum tells him, but instead he heads back to his room and begins playing an online game with some friends. But shortly into their game, his friends are distracted by some disturbing news reports on the TV, so Oh Joon-woo goes to check for himself.
He doesn’t need to watch much of the news on TV before realising that he can look outside of his apartment window and see for himself what the panic is all about. Down on the streets, people are running and screaming in all directions while others are in a frenzied state, attacking and biting everyone around them. Family members turn on each other, a fire truck crashes into a row of cars, and a nearby explosion quickly sends a dazed and confused Oh Joon-woo back inside his apartment.
The news reports talk of people quickly turning violent and attacking others, immediately passing on whatever it is that has turned them into crazed zombies. It describes how you can tell a person is turning because they will be bleeding from the eyes. “Citizens must stay home and avoid going out.” is the advice given. Sound familiar?
Oh Joon-woo does what a lot of us probably did during lockdown - he plays video games, drinks his dad’s alcohol, and tries to just ride it all out the best he can. He quickly regrets ignoring his mum’s request to go and buy groceries though, as he lays out the very small amount of mostly unhealthy food items that are in the apartment out onto the table, and separates them into meals for each day over the coming week or so.
Days pass, but without any sign of the outside chaos subsiding. There are still zombies down on the streets, taking out any unfortunate survivor unlucky enough to be outside, and any investigative trips outside the apartment front door are fraught with danger. We’ve now passed day 20, and Oh Joon-woo is struggling.
At his lowest point, Oh Joon-woo notices a laser pointer shining into his apartment from the high-rise opposite. When he goes to investigate, he sees that there is another survivor looking back at him. Kim Yoo-bin is also at a fairly low point in her life, but with food, weapons and homemade zombie traps, she appears to be a bit of a badass, clearly better equipped at dealing with the crisis than Oh Joon-woo. She initially thinks Oh Joon-woo is an idiot, sending food across a wire that they manage to set up between their buildings so that he doesn’t starve. But they soon form a close bond, sending messages to each other before eventually employing the use of walkie-talkies so that they can discuss a way out of their predicament.
#Alive taps into the feelings that so many of us will have felt during lockdown this year - feeling isolated, lonely, scared. It’s the quiet human moments that work so well here, especially with the introduction of a friend and an ally in the form of Kim Yoo-bin. Finding each other does literally save both of their lives.
But it’s never too long before we’re jolted right back into some zombie action, and thankfully that aspect doesn’t disappoint. The news reports had already informed us that the zombies appeared to be able to remember certain human actions from before they turned, such as opening doors. They even appear to retain aspects of behaviour from their human occupations. This makes for some entertaining and unpredictable zombie fun, most notably a firefighter zombie who scales the outside of the high-rise in an attempt to try and reach Kim Yoo-bin.
There’s a late plot twist and a deus ex machina which may seem like a bit of a cop-out for some, but overall #Alive is certainly a worthwhile watch for fans of zombie action with a focus on the human characters.
#Alive certainly doesn’t waste much time in dropping us straight into the zombie apocalypse. Young gamer Oh Joon-woo wakes up at 10 am, alone in the high-rise apartment that he shares with his parents. A note left by them tells us that they’ve gone away for a few days, leaving Oh Joon-woo to fend for himself. “Make sure you pick up some groceries”, his mum tells him, but instead he heads back to his room and begins playing an online game with some friends. But shortly into their game, his friends are distracted by some disturbing news reports on the TV, so Oh Joon-woo goes to check for himself.
He doesn’t need to watch much of the news on TV before realising that he can look outside of his apartment window and see for himself what the panic is all about. Down on the streets, people are running and screaming in all directions while others are in a frenzied state, attacking and biting everyone around them. Family members turn on each other, a fire truck crashes into a row of cars, and a nearby explosion quickly sends a dazed and confused Oh Joon-woo back inside his apartment.
The news reports talk of people quickly turning violent and attacking others, immediately passing on whatever it is that has turned them into crazed zombies. It describes how you can tell a person is turning because they will be bleeding from the eyes. “Citizens must stay home and avoid going out.” is the advice given. Sound familiar?
Oh Joon-woo does what a lot of us probably did during lockdown - he plays video games, drinks his dad’s alcohol, and tries to just ride it all out the best he can. He quickly regrets ignoring his mum’s request to go and buy groceries though, as he lays out the very small amount of mostly unhealthy food items that are in the apartment out onto the table, and separates them into meals for each day over the coming week or so.
Days pass, but without any sign of the outside chaos subsiding. There are still zombies down on the streets, taking out any unfortunate survivor unlucky enough to be outside, and any investigative trips outside the apartment front door are fraught with danger. We’ve now passed day 20, and Oh Joon-woo is struggling.
At his lowest point, Oh Joon-woo notices a laser pointer shining into his apartment from the high-rise opposite. When he goes to investigate, he sees that there is another survivor looking back at him. Kim Yoo-bin is also at a fairly low point in her life, but with food, weapons and homemade zombie traps, she appears to be a bit of a badass, clearly better equipped at dealing with the crisis than Oh Joon-woo. She initially thinks Oh Joon-woo is an idiot, sending food across a wire that they manage to set up between their buildings so that he doesn’t starve. But they soon form a close bond, sending messages to each other before eventually employing the use of walkie-talkies so that they can discuss a way out of their predicament.
#Alive taps into the feelings that so many of us will have felt during lockdown this year - feeling isolated, lonely, scared. It’s the quiet human moments that work so well here, especially with the introduction of a friend and an ally in the form of Kim Yoo-bin. Finding each other does literally save both of their lives.
But it’s never too long before we’re jolted right back into some zombie action, and thankfully that aspect doesn’t disappoint. The news reports had already informed us that the zombies appeared to be able to remember certain human actions from before they turned, such as opening doors. They even appear to retain aspects of behaviour from their human occupations. This makes for some entertaining and unpredictable zombie fun, most notably a firefighter zombie who scales the outside of the high-rise in an attempt to try and reach Kim Yoo-bin.
There’s a late plot twist and a deus ex machina which may seem like a bit of a cop-out for some, but overall #Alive is certainly a worthwhile watch for fans of zombie action with a focus on the human characters.
Bob Mann (459 KP) rated Fantastic Beasts: Crimes of Grindelwald (2018) in Movies
Sep 28, 2021
Lestranger than fiction.
I must be one of the last people to watch this in the cinema, thanks to an irritating bout of sickness and – well – frankly total bloody apathy! For me this is the franchise that nobody asked for and nobody wanted. (Well, “nobody” is probably overstating the case, since there is probably a bunch of Potterheads out there who are shouting at me right now). But judging from the opinion of my daughter-in-law, who could win “Mastermind” with her knowledge of the original Potter series as her specialist subject, I am certainly not alone in my lack of enthusiasm.
The Plot
I’d really love to tell you about the plot. I really would! But I would struggle to pull all the multitude of strands together from J.K. Rowling’s story and coherently explain them to anyone. If Rowling had put ten thousand monkeys (not a million – it’s no bloody Shakespeare) into a room with typewriters and locked the door I wouldn’t be surprised.
Let me try at a high level….. The arch-criminal wizard Grindelwald (Johnny Depp) is being tortured in ‘Trump Tower’, but manages to escape and flees to Paris in pursuit of a mysterious circus performer called Credence (Ezra Miller) and his bewitched companion Nagini (nudge, nudge, wink, wink) played fetchingly by Claudia Kim. Someone needs to stop him, and all eyes are on Albus Dumbledore (Jude Law). But he is unable to do so, since he and Grindelwald are “closer than brothers” (nudge, nudge, wink, wink). So a reluctant and UK-grounded Newt Scamander (Eddie Redmayne) is smuggled into the danger zone… which suits him just fine since his love Tina (Katherine Waterston) is working for the ministry there, and the couple are currently estranged due to a (topical) bout of ‘Fake News’.
Throw in a potential love triangle between Newt, his brother Theseus (Callum Turner) and old Hogwart’s schoolmate Leta Lestrange (Zoë Kravitz) and about a half dozen other sub-plots and you have… well… a complete bugger’s muggle – – sorry – – muddle.
A plot that’s all at sea
Above all, I really can’t explain the crux of the plot. A venerable diarrhoea of exposition in a crypt, during an inexplicably quiet fifteen minutes (given ‘im-who-can-be-named is next door with about a thousand other people!) left me completely bewildered. A bizarre event at sea (no spoilers) would seem to make absolutely NO SENSE when considered with another reveal at the end of the film. I thought I must have clearly missed something… or I’d just not been intelligent enough to process the information…. or…. it was actually completely bonkers! Actually, I think it’s the latter: in desperation I went on a fan site that tried to explain the plot. While it was explained there, the explanation aligned with what I thought had happened: but it made no mention of the ridiculousness of the random coincidence involved!
The turns
The film’s a mess. Which is a shame since everyone involved tries really hard. Depp oozes evil very effectively (he proves that nicely on arriving in Paris, and doubles-down about 5 minutes later: #veryverydark). Redmayne replays his Newt-act effectively but once again (and I see I made the same comments in my “Fantastic Beasts” review) his character mumbles again so much that many of his lines are unintelligible.
I also complained last time that the excellent actress Katherine Waterston was criminally underused as the tentative love interest Tina. this trend unfortunately continues unabated in this film…. you’ll struggle afterwards to write down what she actually did in this film.
Jacob (Dan Fogler) and Queenie (Alison Sudol, looking for all the world in some scenes like Rachel Weisz) reprise their roles in a sub-plot that goes nowhere in particular.
Of the newcomers, Jude Law as Dumbledore is a class-act but has very little screen time: hopefully he will get more to do next time around. Zoë Kravitz impresses as Leta.
Wizards of the screen
As you would expect from a David Yates / David Heyman Potter collaboration, the product design, costume design and special effects are all excellent. Some scenes are truly impressive – an ‘explosion’ in a Parisian garret is particularly spectacular.
But special effects alone do not a great film make. Many reviews I’ve seen complain that this was a ‘filler’ film… a set-up film for the rest of the series. And I can understand that view. If you analyse the film overall, virtually NOTHING of importance actually happens: it’s like the “Order of the Phoenix” of the prequels.
Final Thoughts
I dragged myself along to see this one because “I thought I should”. The third in the series will really need to sparkle to make me want to see it. If J.K. Rowling were to take me advice (she won’t – she NEVER returns my calls!) then she would sculpt the story-arc but leave the screenwriting to someone better. The blame for this one, I’m afraid, lies at Rowling’s door alone.
The Plot
I’d really love to tell you about the plot. I really would! But I would struggle to pull all the multitude of strands together from J.K. Rowling’s story and coherently explain them to anyone. If Rowling had put ten thousand monkeys (not a million – it’s no bloody Shakespeare) into a room with typewriters and locked the door I wouldn’t be surprised.
Let me try at a high level….. The arch-criminal wizard Grindelwald (Johnny Depp) is being tortured in ‘Trump Tower’, but manages to escape and flees to Paris in pursuit of a mysterious circus performer called Credence (Ezra Miller) and his bewitched companion Nagini (nudge, nudge, wink, wink) played fetchingly by Claudia Kim. Someone needs to stop him, and all eyes are on Albus Dumbledore (Jude Law). But he is unable to do so, since he and Grindelwald are “closer than brothers” (nudge, nudge, wink, wink). So a reluctant and UK-grounded Newt Scamander (Eddie Redmayne) is smuggled into the danger zone… which suits him just fine since his love Tina (Katherine Waterston) is working for the ministry there, and the couple are currently estranged due to a (topical) bout of ‘Fake News’.
Throw in a potential love triangle between Newt, his brother Theseus (Callum Turner) and old Hogwart’s schoolmate Leta Lestrange (Zoë Kravitz) and about a half dozen other sub-plots and you have… well… a complete bugger’s muggle – – sorry – – muddle.
A plot that’s all at sea
Above all, I really can’t explain the crux of the plot. A venerable diarrhoea of exposition in a crypt, during an inexplicably quiet fifteen minutes (given ‘im-who-can-be-named is next door with about a thousand other people!) left me completely bewildered. A bizarre event at sea (no spoilers) would seem to make absolutely NO SENSE when considered with another reveal at the end of the film. I thought I must have clearly missed something… or I’d just not been intelligent enough to process the information…. or…. it was actually completely bonkers! Actually, I think it’s the latter: in desperation I went on a fan site that tried to explain the plot. While it was explained there, the explanation aligned with what I thought had happened: but it made no mention of the ridiculousness of the random coincidence involved!
The turns
The film’s a mess. Which is a shame since everyone involved tries really hard. Depp oozes evil very effectively (he proves that nicely on arriving in Paris, and doubles-down about 5 minutes later: #veryverydark). Redmayne replays his Newt-act effectively but once again (and I see I made the same comments in my “Fantastic Beasts” review) his character mumbles again so much that many of his lines are unintelligible.
I also complained last time that the excellent actress Katherine Waterston was criminally underused as the tentative love interest Tina. this trend unfortunately continues unabated in this film…. you’ll struggle afterwards to write down what she actually did in this film.
Jacob (Dan Fogler) and Queenie (Alison Sudol, looking for all the world in some scenes like Rachel Weisz) reprise their roles in a sub-plot that goes nowhere in particular.
Of the newcomers, Jude Law as Dumbledore is a class-act but has very little screen time: hopefully he will get more to do next time around. Zoë Kravitz impresses as Leta.
Wizards of the screen
As you would expect from a David Yates / David Heyman Potter collaboration, the product design, costume design and special effects are all excellent. Some scenes are truly impressive – an ‘explosion’ in a Parisian garret is particularly spectacular.
But special effects alone do not a great film make. Many reviews I’ve seen complain that this was a ‘filler’ film… a set-up film for the rest of the series. And I can understand that view. If you analyse the film overall, virtually NOTHING of importance actually happens: it’s like the “Order of the Phoenix” of the prequels.
Final Thoughts
I dragged myself along to see this one because “I thought I should”. The third in the series will really need to sparkle to make me want to see it. If J.K. Rowling were to take me advice (she won’t – she NEVER returns my calls!) then she would sculpt the story-arc but leave the screenwriting to someone better. The blame for this one, I’m afraid, lies at Rowling’s door alone.
Chris Sawin (602 KP) rated Death on the Nile (2022) in Movies
Feb 10, 2022
Most of the female cast. (2 more)
Poirot's backstory.
Kenneth Branagh's mustache.
Slow-moving with little payoff. (2 more)
Nothing substantial happens for the first hour.
Not entertaining. Perfect example of first world problems.
A Drowzy Whodunit Loaded with Mediocrity
Death on the Nile is the sequel to 2017’s Murder on the Orient Express with director and lead actor Kenneth Branagh returning. The mystery thriller is based on the 1937 novel of the same name by Agatha Christie. Death on the Nile has been adapted before as a 1978 film and as a 2004 episode of the Poirot television series starring David Suchet.
The 2022 film has been completed since December of 2019. The film was moved around several times due to COVID and was pushed back even further after Armie Hammer’s abuse allegations.
Mostly occurring shortly after the events of Murder on the Orient Express, Death on the Nile offers a bit of a look into the past of Hercule Poirot (Branagh). Taking place on the Yser Bridge in Belgium In 1914, a young Poirot advises his Belgian captain to attack the Germans spontaneously without warning. The attack is a success, but Poirot’s captain triggers an explosive after their victory. The explosion leaves Poirot’s face heavily scarred and offers an explanation as to why he always has a mustache.
Poirot reunites with his friend Bouc (Tom Bateman, who also returns from Murder on the Orient Express) in Egypt. Bouc is traveling with his mother Euphemia (Annette Bening) and their friends as they celebrate the marriage of Linnet Ridgeway (Gal Gadot) and Simon Doyle (Armie Hammer). To make matters more complicated, Simon was originally romantically involved with Jaqueline (Emma Mackey) who was also a former friend of Linnet. She now scornfully follows Simon and Linnet around Egypt.
The party travels on the S. S. Karnak, a steamship, along the river Nile. A murder eventually takes place on the steamship, which ignites a desire within Poirot to discover who the killer is before more suffer the same fate.
CGI and visual effects are used to make Kenneth Branagh look younger in the opening sequence of the film. The issue is he looks almost as bad as Henry Cavill did as Superman during the reshoots for Justice League. Branagh’s upper lip is almost nonexistent during this sequence and his philtrum seems to barely move when he speaks. It’s a visual nightmare and a terrible way to jump start a murder mystery.
Poirot travels to a Jazz nightclub where he’s first introduced to Simon, Jacqueline, and Linnet. Poirot spends much of the film embracing his OCD habits and people watching. This first nightclub sequence is about ten minutes long and you’re basically forced to watch people do nothing but dance for that entire time. Armie Hammer’s overly sexual dancing combined with his heavy breathing and constant sweating with both Gal Gadot and Emma Mackey is nauseating even without taking his sexual allegations into consideration.
Nothing really happens in the film for the first hour. Death on the Nile takes its time getting to the murder as little things begin to disappear (like a tube of paint) and Simon and Linnet are nearly crushed to death by a falling rock as they’re practically mid-coitus while sightseeing some pyramids. Emma Mackey gives a particularly strong performance. She is blinded by one-sided love in the film and her performance is a combination of passion, borderline insanity, and a broken heart.
Annette Bening is so cynical that it’s humorous and Jennifer Saunders adds just enough sarcastic bite to remind us ever so slightly of Absolutely Fabulous. Letitia Wright portrays business manager Rosalie Otterbourne. Her performance is intriguing because she’s always fighting for what she feels like she’s rightfully owed; whether it’s the right amount of money for her services or her happiness away from the limelight.
Like Murder on the Orient Express and other Agatha Christie adaptations, the enticing aspect of Death on the Nile is not only its massive and recognizable cast but also the fact that the story is written in a way that everyone is a suspect. The film’s nonchalant way of meandering towards that first murder is frustrating. A deliberate pace is one thing, but Death on the Nile is boring for the most part. Poirot is asked to take a case involving Jacqueline and the safety of Simon and Linnet, but is then mocked for being heartless and not being able to solve the case sooner. The people on board are likely meant to be scared, but come off as rich people not getting what they want the instant they want it.
Death on the Nile crawls towards a resolution you don’t feel invested in. Poirot’s backstory is interesting and there are some solid performances especially from the female cast, but the film otherwise feels like an unwanted game of Guess Who after you unwillingly chug two bottles of NyQuil and are asked to predict who the killer is after two long hours of tediousness.
The 2022 film has been completed since December of 2019. The film was moved around several times due to COVID and was pushed back even further after Armie Hammer’s abuse allegations.
Mostly occurring shortly after the events of Murder on the Orient Express, Death on the Nile offers a bit of a look into the past of Hercule Poirot (Branagh). Taking place on the Yser Bridge in Belgium In 1914, a young Poirot advises his Belgian captain to attack the Germans spontaneously without warning. The attack is a success, but Poirot’s captain triggers an explosive after their victory. The explosion leaves Poirot’s face heavily scarred and offers an explanation as to why he always has a mustache.
Poirot reunites with his friend Bouc (Tom Bateman, who also returns from Murder on the Orient Express) in Egypt. Bouc is traveling with his mother Euphemia (Annette Bening) and their friends as they celebrate the marriage of Linnet Ridgeway (Gal Gadot) and Simon Doyle (Armie Hammer). To make matters more complicated, Simon was originally romantically involved with Jaqueline (Emma Mackey) who was also a former friend of Linnet. She now scornfully follows Simon and Linnet around Egypt.
The party travels on the S. S. Karnak, a steamship, along the river Nile. A murder eventually takes place on the steamship, which ignites a desire within Poirot to discover who the killer is before more suffer the same fate.
CGI and visual effects are used to make Kenneth Branagh look younger in the opening sequence of the film. The issue is he looks almost as bad as Henry Cavill did as Superman during the reshoots for Justice League. Branagh’s upper lip is almost nonexistent during this sequence and his philtrum seems to barely move when he speaks. It’s a visual nightmare and a terrible way to jump start a murder mystery.
Poirot travels to a Jazz nightclub where he’s first introduced to Simon, Jacqueline, and Linnet. Poirot spends much of the film embracing his OCD habits and people watching. This first nightclub sequence is about ten minutes long and you’re basically forced to watch people do nothing but dance for that entire time. Armie Hammer’s overly sexual dancing combined with his heavy breathing and constant sweating with both Gal Gadot and Emma Mackey is nauseating even without taking his sexual allegations into consideration.
Nothing really happens in the film for the first hour. Death on the Nile takes its time getting to the murder as little things begin to disappear (like a tube of paint) and Simon and Linnet are nearly crushed to death by a falling rock as they’re practically mid-coitus while sightseeing some pyramids. Emma Mackey gives a particularly strong performance. She is blinded by one-sided love in the film and her performance is a combination of passion, borderline insanity, and a broken heart.
Annette Bening is so cynical that it’s humorous and Jennifer Saunders adds just enough sarcastic bite to remind us ever so slightly of Absolutely Fabulous. Letitia Wright portrays business manager Rosalie Otterbourne. Her performance is intriguing because she’s always fighting for what she feels like she’s rightfully owed; whether it’s the right amount of money for her services or her happiness away from the limelight.
Like Murder on the Orient Express and other Agatha Christie adaptations, the enticing aspect of Death on the Nile is not only its massive and recognizable cast but also the fact that the story is written in a way that everyone is a suspect. The film’s nonchalant way of meandering towards that first murder is frustrating. A deliberate pace is one thing, but Death on the Nile is boring for the most part. Poirot is asked to take a case involving Jacqueline and the safety of Simon and Linnet, but is then mocked for being heartless and not being able to solve the case sooner. The people on board are likely meant to be scared, but come off as rich people not getting what they want the instant they want it.
Death on the Nile crawls towards a resolution you don’t feel invested in. Poirot’s backstory is interesting and there are some solid performances especially from the female cast, but the film otherwise feels like an unwanted game of Guess Who after you unwillingly chug two bottles of NyQuil and are asked to predict who the killer is after two long hours of tediousness.
Gareth von Kallenbach (971 KP) rated V for Vendetta (2005) in Movies
Aug 14, 2019
On a dark and silent night, a young woman named Evey (Natalie Portman), treads carefully through the streets of London unaware of the direction her life is about to take. As an attractive young lady, sneaking out of her home after curfew is filled with peril, especially when she is confronted by a gang of local thugs who happen to work for the government. Despite her protests, the men set up Evey only to be confronted by a masked figure.
The masked figure quickly dispatches the assailants and offers to escort Evey to safety. Despite being scared, Evey does accompany the figure to a rooftop where she is treated to a spectacular explosion set to music.
Thus begins V for Vendetta a film that mixes “The Phantom of the Opera” “Beauty and the Beast” and ?” to create a gothic love story and biting social commentary about the dangers of governmental control and censorship in a society gone awry.
In London of the near future, it is learned that a series of terrorist attacks have left thousands dead which resulted in stricter governmental controls and intrusions into privacy and lifestyles. Those who did not conform nor meet expectations often vanished never to be heard from again. Such was the case of Evey’s parents who decided to protest governmental policies and soon found themselves beaten and whisked away in the night.
Behind all of the oppression is a man named Adam Sutler (John Hurt), a monomaniacal leader who rules with an iron fist and an extreme agenda that he has manipulated to make himself and unopposed ruler of the nation.
While most of the population lives in fear of Sutler and his men, there is one who does not, a mysterious masked figure named V (Hugo Weaving), who dons a Guy Fawkes mask in tribute to the man who centuries ago attempted to destroy Parliament. When V is able to temporarily gain control of the television network for the government, he is able to broadcast his message to the people that the time has come to take back their lives and society and stop living in fear. Towards this end, V pledges to the masses that he will destroy Parliament in 1 year and that the people should gather to watch the destruction unfold.
This bold proclamation causes Sutler to stop at nothing to capture V and he tasks his Chief Inspector Finch (Stephen Rea), to locate V. Since Evey worked at the television station and was observed helping V on a security monitor, Finch decides to locate Evey and force her to reveal the locale of the mysterious vigilante.
This task proves difficult as V has taken Evey into his protection and forces her to live in his luxurious yet secluded home in order to avoid the police forces.
It is during this time that Evey learns that V is a study in contrast. On one hand he is a very sophisticated person with a taste for the arts, culture, and a desire to see people free to live their lives as they desire.
During this time V also kills top members of the political party and with the discovery of each new victim, he becomes an even bigger target of a very irate Sutler.
All of which culminates in a race against the clock for V to complete his plan and exact his revenge for past wrongdoings done to him which propels the film to its climatic finale.
While the film is an interesting and at times enjoyable film it is hampered in some ways by a marketing program where early trailers showed the film to be an action filled romp. The truth is there is about 15-20 minutes of action in the films nearly 2hr and 10 minute run time which allows the majority of the film to be spent on the interaction between V and Evey.
While this is interesting and does bring in elements of “Phantom” and “Beauty” as I mentioned earlier, it is at the sacrifice of what I think are important factors. For example we learn a bit about why V is on his vendetta but serious questions from that are not answered. We do not learn the full what, where and why, on his situation. I am trying hard to avoid spoilers here so suffice it to say there are some very important questions about what was done to him, how he survived and so on that need to be answered but are not.
The action sequences though few and far between are well staged and Weaving and Portman have a great chemistry with one another and do make interesting and compelling characters.
The main strength of the film is the message that people need to be aware of what is going on around them and not be so willing to accept everything they are told at face value. There is a real sense of counter-culture with the film as the prevalent theme of question and if needed defy authority permeates the film.
The script written by the Wachowski brothers of The Matrix trilogy fame has chosen to tone down the gimmicky of bullet time effects and instead focus on a character driven drama with a message and it is one that resounds loudly and clearly.
The masked figure quickly dispatches the assailants and offers to escort Evey to safety. Despite being scared, Evey does accompany the figure to a rooftop where she is treated to a spectacular explosion set to music.
Thus begins V for Vendetta a film that mixes “The Phantom of the Opera” “Beauty and the Beast” and ?” to create a gothic love story and biting social commentary about the dangers of governmental control and censorship in a society gone awry.
In London of the near future, it is learned that a series of terrorist attacks have left thousands dead which resulted in stricter governmental controls and intrusions into privacy and lifestyles. Those who did not conform nor meet expectations often vanished never to be heard from again. Such was the case of Evey’s parents who decided to protest governmental policies and soon found themselves beaten and whisked away in the night.
Behind all of the oppression is a man named Adam Sutler (John Hurt), a monomaniacal leader who rules with an iron fist and an extreme agenda that he has manipulated to make himself and unopposed ruler of the nation.
While most of the population lives in fear of Sutler and his men, there is one who does not, a mysterious masked figure named V (Hugo Weaving), who dons a Guy Fawkes mask in tribute to the man who centuries ago attempted to destroy Parliament. When V is able to temporarily gain control of the television network for the government, he is able to broadcast his message to the people that the time has come to take back their lives and society and stop living in fear. Towards this end, V pledges to the masses that he will destroy Parliament in 1 year and that the people should gather to watch the destruction unfold.
This bold proclamation causes Sutler to stop at nothing to capture V and he tasks his Chief Inspector Finch (Stephen Rea), to locate V. Since Evey worked at the television station and was observed helping V on a security monitor, Finch decides to locate Evey and force her to reveal the locale of the mysterious vigilante.
This task proves difficult as V has taken Evey into his protection and forces her to live in his luxurious yet secluded home in order to avoid the police forces.
It is during this time that Evey learns that V is a study in contrast. On one hand he is a very sophisticated person with a taste for the arts, culture, and a desire to see people free to live their lives as they desire.
During this time V also kills top members of the political party and with the discovery of each new victim, he becomes an even bigger target of a very irate Sutler.
All of which culminates in a race against the clock for V to complete his plan and exact his revenge for past wrongdoings done to him which propels the film to its climatic finale.
While the film is an interesting and at times enjoyable film it is hampered in some ways by a marketing program where early trailers showed the film to be an action filled romp. The truth is there is about 15-20 minutes of action in the films nearly 2hr and 10 minute run time which allows the majority of the film to be spent on the interaction between V and Evey.
While this is interesting and does bring in elements of “Phantom” and “Beauty” as I mentioned earlier, it is at the sacrifice of what I think are important factors. For example we learn a bit about why V is on his vendetta but serious questions from that are not answered. We do not learn the full what, where and why, on his situation. I am trying hard to avoid spoilers here so suffice it to say there are some very important questions about what was done to him, how he survived and so on that need to be answered but are not.
The action sequences though few and far between are well staged and Weaving and Portman have a great chemistry with one another and do make interesting and compelling characters.
The main strength of the film is the message that people need to be aware of what is going on around them and not be so willing to accept everything they are told at face value. There is a real sense of counter-culture with the film as the prevalent theme of question and if needed defy authority permeates the film.
The script written by the Wachowski brothers of The Matrix trilogy fame has chosen to tone down the gimmicky of bullet time effects and instead focus on a character driven drama with a message and it is one that resounds loudly and clearly.
Chris Sawin (602 KP) rated Terminator Salvation (2009) in Movies
Jun 22, 2019
In the year 2018, humans are resisting the machines Skynet created called terminators. John Connor is the man who is destined to lead the resistance. Everything John Connor knows is turned inside out when he comes across Marcus Wright. Marcus was put to death by lethal injection in 2003 for killing his brother and two cops yet here he stands today. When an all out assualt by John's superiors is declared on Skynet, John finds out that Kyle Reese (the man who would eventually become his father) has been captured and will be caught in the blast, he knows his only choice is to join forces with Marcus, rescue the human prisoners, and bring Skynet down.
Christian Bale may have been the biggest disappointment in this film. After everyone heard the sound clip of him blowing up on set at a cinematographer, everybody kind of wondered if Bale's success was getting to his head. Well, it just might have. That clip seemed to run through my mind an awful lot throughout the duration of the film. My biggest complaint was that John Connor yelled the majority of the time, even when there was no reason to. When he did talk normally, he used his Batman voice. It just didn't seem to fit since Bale is more than capable of altering his accent (Harsh Times, Rescue Dawn, The Prestige). It's an issue that was bound to come up eventually, but just didn't really click until now.
The other weak link of the film had to be the dialogue. It is incredibly cheesy at times. At the beginning of the film, one of John Connor's superiors yells, "You tell those men to respond, even if they're dead!" It just seemed to be over the top more often than not. While the dialogue was a bit on the atrocious side, the story did have one interesting element going for it. The entire film revolves around this element and is really the only new factor brought in to the Terminator franchise. While the film had its low points, I kept thinking that the film at least had this going for it. Then the ending rolled around and just completely dropped the ball.
With all the negative components of the film, there are still quite a few pieces of the puzzle that are worth mentioning. The action scenes are beyond superb. The camera always seems to be in the right spot at the right time and it isn't too close, which is a definite plus. It seems to be too close during action sequences and fighting scenes in most films these days and most of the action gets lost in the shuffle (Transformers is a good example). Being able to see everything without wondering what happened to this character or that character is a nice change. Something that should definitely happen more often. The entire scene with The Harvester is pretty phenomenal. There are also quite a few throwbacks to the first two films of the franchise. "Come with me if you want to live," and, "I'll be back," are both used in the film, Kyle Reese uses his signature weapon, a sawn off shotgun, Marcus Wright knocks the windshield out of the wrecking truck in a similar fashion the T-1000 did with the diesel in T2, John Connor cocking a gun and firing at a T-800 while being wounded much like Sarah Connor did with the T-1000 while being wounded in T2, and I'm sure quite a few more that I missed.
Sam Worthington should be getting all the attention Christian Bale is for this film. He actually makes you care about Marcus Wright despite what he's done in the past. The way he portrays his emotions and how he's done these horrible things yet is a decent guy deep down inside just makes you want to root for him. Anton Yelchin also deserves a mention. His version of Kyle Reese is pretty much spot on with how you'd imagine a younger version of Kyle Reese to act. His mannerisms, the way he talks, everything. He nailed it.
The sound was also spectacular. Sounds of huge terminators echoed off the walls and made the ground shake, helicoptor blades seemed to chop through the air in violent strokes, motorcycles screeched from one side of the theater to the other to sound like they were going right by you, and you could feel the area around you rumble whenever there was a huge explosion. The sound is definitely a huge aspect of an action film and it really delivered here.
Terminator: Salvation is worth seeing, but being a fan of the franchise and having high expectations may leave you walking away in disappointment. The film doesn't really elaborate on the war between humans and machines or really add anything to the franchise, when all is said and done. If you can somehow remember the first two films yet not compare this sequel with them while ignoring plot holes, Christian Bale's over the top performance, and cheesy dialogue, then you may be able to enjoy Terminator: Salvation to its full extent. But if you're looking for a great action film that fails to expand the Terminator mythos in any way, shape, or form, then this film delivers.
Christian Bale may have been the biggest disappointment in this film. After everyone heard the sound clip of him blowing up on set at a cinematographer, everybody kind of wondered if Bale's success was getting to his head. Well, it just might have. That clip seemed to run through my mind an awful lot throughout the duration of the film. My biggest complaint was that John Connor yelled the majority of the time, even when there was no reason to. When he did talk normally, he used his Batman voice. It just didn't seem to fit since Bale is more than capable of altering his accent (Harsh Times, Rescue Dawn, The Prestige). It's an issue that was bound to come up eventually, but just didn't really click until now.
The other weak link of the film had to be the dialogue. It is incredibly cheesy at times. At the beginning of the film, one of John Connor's superiors yells, "You tell those men to respond, even if they're dead!" It just seemed to be over the top more often than not. While the dialogue was a bit on the atrocious side, the story did have one interesting element going for it. The entire film revolves around this element and is really the only new factor brought in to the Terminator franchise. While the film had its low points, I kept thinking that the film at least had this going for it. Then the ending rolled around and just completely dropped the ball.
With all the negative components of the film, there are still quite a few pieces of the puzzle that are worth mentioning. The action scenes are beyond superb. The camera always seems to be in the right spot at the right time and it isn't too close, which is a definite plus. It seems to be too close during action sequences and fighting scenes in most films these days and most of the action gets lost in the shuffle (Transformers is a good example). Being able to see everything without wondering what happened to this character or that character is a nice change. Something that should definitely happen more often. The entire scene with The Harvester is pretty phenomenal. There are also quite a few throwbacks to the first two films of the franchise. "Come with me if you want to live," and, "I'll be back," are both used in the film, Kyle Reese uses his signature weapon, a sawn off shotgun, Marcus Wright knocks the windshield out of the wrecking truck in a similar fashion the T-1000 did with the diesel in T2, John Connor cocking a gun and firing at a T-800 while being wounded much like Sarah Connor did with the T-1000 while being wounded in T2, and I'm sure quite a few more that I missed.
Sam Worthington should be getting all the attention Christian Bale is for this film. He actually makes you care about Marcus Wright despite what he's done in the past. The way he portrays his emotions and how he's done these horrible things yet is a decent guy deep down inside just makes you want to root for him. Anton Yelchin also deserves a mention. His version of Kyle Reese is pretty much spot on with how you'd imagine a younger version of Kyle Reese to act. His mannerisms, the way he talks, everything. He nailed it.
The sound was also spectacular. Sounds of huge terminators echoed off the walls and made the ground shake, helicoptor blades seemed to chop through the air in violent strokes, motorcycles screeched from one side of the theater to the other to sound like they were going right by you, and you could feel the area around you rumble whenever there was a huge explosion. The sound is definitely a huge aspect of an action film and it really delivered here.
Terminator: Salvation is worth seeing, but being a fan of the franchise and having high expectations may leave you walking away in disappointment. The film doesn't really elaborate on the war between humans and machines or really add anything to the franchise, when all is said and done. If you can somehow remember the first two films yet not compare this sequel with them while ignoring plot holes, Christian Bale's over the top performance, and cheesy dialogue, then you may be able to enjoy Terminator: Salvation to its full extent. But if you're looking for a great action film that fails to expand the Terminator mythos in any way, shape, or form, then this film delivers.
Bob Mann (459 KP) rated Ford v Ferrari (aka Le Mans '66) (2019) in Movies
Nov 20, 2019
Damon, Bale and fast cars (1 more)
Epic technical film making - cinematography, editing and sound - Oscar bait
A linear story on a circular track - but beautifully done.
Despite the love affair cinema has had with cars over the years, the sport of motor racing on film has been patchy. Too often the drama on the track has been deluged with melodrama off the track, as in John Frankenheimer's "Grand Prix" from 1966. While recent efforts such as Ron Howard's "Rush" have brought modern filming techniques to better convey the speed and excitement, it is Steve McQueen's "Le Mans" from 1971 that had previously set the bar for realism in the sport. But even there, there were a few off-track love stories to interweave into the action.
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
Bob Mann (459 KP) rated Downsizing (2017) in Movies
Sep 29, 2021
Tiny People, Big Mess.
From the trailer this film looked quirky, funny and interesting and has been on my “looking forward to” list for many months. Oh dear, what a let down.
Matt Damon (“The Martian“, “The Great Wall“, “Jason Bourne“) and Kristen Wiig (“mother!“, “Ghostbusters“) play Paul and Audrey Safranek. Paul is a laid-back and hardworking occupational therapist; Audrey has materialistic ambitions over and above their available finances. The two decide to “downsize” making use of a revolutionary Norwegian invention that reduces humans, and most other lifeforms, to a fraction of their normal size. This offers huge wealth to the normal American, since the cost of living in downsized form within the mini-estate called LeisureLand is tiny in comparison to “big folks”. But all does not go well in the transition (unlike the trailer, no spoilers here) and Paul needs to find a new purpose in life as bigger problems loom.
It’s clearly written to be a social satire, and there are some clever angles to be explored here: everyone publicly positions their downsizing based on ‘environmental issues’ and ‘saving the planet’, but most everyone’s real reason is the lifestyle benefits. Also lightly touched on, but never deeply explored, are the impacts that the downsizing initiative is having on the broader American economy and property markets, with the ‘big people’ questioning why small people should have the same rights and votes as them.
But the film never really gets into the meat of any of this. Worse than that, the movie never settles on what it is trying to be. I think we can write off “Sci-Fi” pretty early on. But is it a drama? A comedy? A love story? A socialist rant? An environmental cri de coeur? The film jumbles all these aspects together and treats each so halfheartedly that none of them get properly addressed.
Not only are the audience confused: none of the actors seem to be too sure why they’re there either. Damon – never Mr Personality – should have been able to develop some chemistry with the feisty and dynamic Ms Wiig, but even these early scenes plod along with you thinking “what a dull film”. Things perk up slightly at the LeisureLand sales fair, where Neil Patrick Harris (“Gone Girl“) and a naked Laura Dern (“Star Wars: The Last Jedi“) glibly try to sell a luxury doll’s house to the assembled crowd. American consumerism in miniature.
But post-downsizing the film crashes back to ‘Dullesville Arizona’ again, but with added depression, requiring Christophe Waltz (“Django Unchanined”, “Spectre“), as a dodgy Serbian entrepreneur Dusan Mirkovic, to over-act manically to try to add any sort of energy into the film (which he is only mildly successful at doing). There’s a rather bizarre supporting role from Udo Kier – looking for all the world like Terence Stamp – as Mirkovic’s ship-owning pal, and an almost cameo performance from Jason Sudeikis (“Colossal“).
Enter stage-left Thai-born Hong Chau as Ngoc Lan Tran, a Vietnamese cleaner. There’s a clever angle here: where “average American Joes” like Safranek can live like kings, but the poor still have to scrape by, living in ‘skyscraper Portacabins’, as the menial classes: there’s no escaping class structures, even when 5 inches tall. Chau sums up the uneven nature of the film, as she mostly plays her lines for laughs but then (in a spectacularly good bit of acting in the midst of, I have to say, some pretty poor hamming) bursts into uncontrollable tears.
Just when you think things are going to limp to a unmemorable close, the film ups and leaves LeisureLand to add a completely bizarre final act. (It’s pretty unusual in the UK for people to walk out of a cinema mid-film, but a couple did so at this point). This segment bears no relationship to the downsizing theme whatsoever, since all the players at this point could be full-sized. Aside from an amusing “50 shades of f**k” speech from Ngoc Lan Tran and a “massive explosion”, this story goes nowhere, says nothing (at least not to me) and merely irritates. Throw in a completely anti-climatic non-ending and I genuinely shared a “WTF look” with the stranger sat next to me!
This is all very strange, since this comes from Alexander Payne, who also directed and co-wrote “The Descendants”, one of the most impressive films of the decade. Jim Taylor co-writes (as he has co-written numerous other films with Payne).
I note that in this morning’s London Times that their film critic, Kevin Maher – someone who’s views I am generally pretty well aligned with – gave it 4 *’s out of 5. I can only assume that he either saw a completely different cut of the film, or he is a lot cleverer than I am and understood amazing sub-texts that completely passed me by! Maybe… but I have a sneaking suspicion that the general viewing public will more share my opinion on this than his.
I was tempted to give this just one star as it was such a disappointment to me, but the underlying concept is a good one: it is just one that has, in my humble opinion, been implemented in a bizarrely slipshod manner.
Definitely not recommended. Go and see “Coco” instead!
Matt Damon (“The Martian“, “The Great Wall“, “Jason Bourne“) and Kristen Wiig (“mother!“, “Ghostbusters“) play Paul and Audrey Safranek. Paul is a laid-back and hardworking occupational therapist; Audrey has materialistic ambitions over and above their available finances. The two decide to “downsize” making use of a revolutionary Norwegian invention that reduces humans, and most other lifeforms, to a fraction of their normal size. This offers huge wealth to the normal American, since the cost of living in downsized form within the mini-estate called LeisureLand is tiny in comparison to “big folks”. But all does not go well in the transition (unlike the trailer, no spoilers here) and Paul needs to find a new purpose in life as bigger problems loom.
It’s clearly written to be a social satire, and there are some clever angles to be explored here: everyone publicly positions their downsizing based on ‘environmental issues’ and ‘saving the planet’, but most everyone’s real reason is the lifestyle benefits. Also lightly touched on, but never deeply explored, are the impacts that the downsizing initiative is having on the broader American economy and property markets, with the ‘big people’ questioning why small people should have the same rights and votes as them.
But the film never really gets into the meat of any of this. Worse than that, the movie never settles on what it is trying to be. I think we can write off “Sci-Fi” pretty early on. But is it a drama? A comedy? A love story? A socialist rant? An environmental cri de coeur? The film jumbles all these aspects together and treats each so halfheartedly that none of them get properly addressed.
Not only are the audience confused: none of the actors seem to be too sure why they’re there either. Damon – never Mr Personality – should have been able to develop some chemistry with the feisty and dynamic Ms Wiig, but even these early scenes plod along with you thinking “what a dull film”. Things perk up slightly at the LeisureLand sales fair, where Neil Patrick Harris (“Gone Girl“) and a naked Laura Dern (“Star Wars: The Last Jedi“) glibly try to sell a luxury doll’s house to the assembled crowd. American consumerism in miniature.
But post-downsizing the film crashes back to ‘Dullesville Arizona’ again, but with added depression, requiring Christophe Waltz (“Django Unchanined”, “Spectre“), as a dodgy Serbian entrepreneur Dusan Mirkovic, to over-act manically to try to add any sort of energy into the film (which he is only mildly successful at doing). There’s a rather bizarre supporting role from Udo Kier – looking for all the world like Terence Stamp – as Mirkovic’s ship-owning pal, and an almost cameo performance from Jason Sudeikis (“Colossal“).
Enter stage-left Thai-born Hong Chau as Ngoc Lan Tran, a Vietnamese cleaner. There’s a clever angle here: where “average American Joes” like Safranek can live like kings, but the poor still have to scrape by, living in ‘skyscraper Portacabins’, as the menial classes: there’s no escaping class structures, even when 5 inches tall. Chau sums up the uneven nature of the film, as she mostly plays her lines for laughs but then (in a spectacularly good bit of acting in the midst of, I have to say, some pretty poor hamming) bursts into uncontrollable tears.
Just when you think things are going to limp to a unmemorable close, the film ups and leaves LeisureLand to add a completely bizarre final act. (It’s pretty unusual in the UK for people to walk out of a cinema mid-film, but a couple did so at this point). This segment bears no relationship to the downsizing theme whatsoever, since all the players at this point could be full-sized. Aside from an amusing “50 shades of f**k” speech from Ngoc Lan Tran and a “massive explosion”, this story goes nowhere, says nothing (at least not to me) and merely irritates. Throw in a completely anti-climatic non-ending and I genuinely shared a “WTF look” with the stranger sat next to me!
This is all very strange, since this comes from Alexander Payne, who also directed and co-wrote “The Descendants”, one of the most impressive films of the decade. Jim Taylor co-writes (as he has co-written numerous other films with Payne).
I note that in this morning’s London Times that their film critic, Kevin Maher – someone who’s views I am generally pretty well aligned with – gave it 4 *’s out of 5. I can only assume that he either saw a completely different cut of the film, or he is a lot cleverer than I am and understood amazing sub-texts that completely passed me by! Maybe… but I have a sneaking suspicion that the general viewing public will more share my opinion on this than his.
I was tempted to give this just one star as it was such a disappointment to me, but the underlying concept is a good one: it is just one that has, in my humble opinion, been implemented in a bizarrely slipshod manner.
Definitely not recommended. Go and see “Coco” instead!