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Alice (12 KP) rated Red Sister in Books
Jul 3, 2018
<i>Many thanks to Mark for providing me a copy of this book in exchange for an honest review </i>
Original review can be found on my blog Raptureinbooks <a href="http://wp.me/p5y0lX-1I9">here</a href>
<blockquote>It is important, when killing a nun, to bring an army of sufficient size.</blockquote>
I know they say to never judge a book by its cover but first impressions are everything. The above quote is the first line written in <i>Red Sister</i> - Mark Lawrence's newest masterpiece. I don't use the term lightly.
For those of you who haven't read his work before - know this: it will change how you read fantasy for the better. There's a really apt line in this book for this sentiment:
<blockquote>...a book is as dangerous as any journey you might take. The person who closes the back cover may not be the same one that opened the front one. </blockquote>
For those of you who have, you know his main characters are the ultimate in anti-heroes. All male, all rough, all the epitome of badassery. <i>Red Sister</i> is the first with a strong - and I mean strong -all female cast.
From the first instance you know this book is going to be top of the scale of epicness, <i>Red Sister</i> will draw you in within moments of opening the pages.
It follows the story of Nona Grey- an eight year old girl saved from the noose by an unlikely saviour - a nun - Abbess Glass, leader of the Sweet Mercy Convent. Nona becomes a novice nun and begins her journey to becoming a Red Sister- a nun skilled in combat. At first the book can feel a little like you've stepped backwards in time to where children are bought and sold on the road, where the Church has almost absolute power and where little girls do not become killer nuns; however as the story progresses and Nona's back story is revealed to us piece by piece I found my original thoughts to be utter bullshit because frankly the plot is outstanding.
I'll hold my hand up and say I've never read a book about nuns before but Red Sister has ruined me for any other.
As signature with Mark's work, Red Sister has the perfect balance between seriousness and humour with some brilliant descriptions of the most simplest of things:
<blockquote>...and a quill. This latter gave the impression that the bird from which it was taken had died of some wasting disease, falling from its perch into a dirty puddle before being run over by several carts and finally thoroughly chewed by a hungry cat.</blockquote>
The dialogue was witty and the right tone for what is ultimately a group of girls in boarding school who both love and hate each other and what they do on a daily basis. The friendships made at Sweet Mercy are friendships built to last through the toughest of scenarios, literally through thick and thin. Nona's past catches up with her frequently and she is tested to her highest limits and on occasion shoved over that limit.
<blockquote>"Trust is the most insidious of poisons." </blockquote>
There are some harsh lessons to be learned in <i>Red Sister</i> and not just the physical ones - of which there are many. The plot is thick with action, betrayal, uncanny abilities and supernatural old world bloodlines that show through in current generations that haven't been seen since the first tribes settled in Abeth; with prophecies galore and the odd psycho, bare knuckle fighting in the pits and justice is wrought.
The revelations are spectacular and revealed in unexpected ways that have totally done them justice. The writing style of Mark Lawrence is once more on point with the right amount of length for each chapter; the supernatural demon element was written in a great way. Overall, it was a masterpiece of the genre and deserves all the stars.
<i>Red Sister</i> has been one of the highlights of my year so far and it is outstanding. I've tried not to give anything away which is hard cause I want to give all the spoilers! I'll leave you with a parting quote that sums up the book nicely.
<blockquote>"Words are steps along a path: The important thing is to get where you're going."</blockquote>
Original review can be found on my blog Raptureinbooks <a href="http://wp.me/p5y0lX-1I9">here</a href>
<blockquote>It is important, when killing a nun, to bring an army of sufficient size.</blockquote>
I know they say to never judge a book by its cover but first impressions are everything. The above quote is the first line written in <i>Red Sister</i> - Mark Lawrence's newest masterpiece. I don't use the term lightly.
For those of you who haven't read his work before - know this: it will change how you read fantasy for the better. There's a really apt line in this book for this sentiment:
<blockquote>...a book is as dangerous as any journey you might take. The person who closes the back cover may not be the same one that opened the front one. </blockquote>
For those of you who have, you know his main characters are the ultimate in anti-heroes. All male, all rough, all the epitome of badassery. <i>Red Sister</i> is the first with a strong - and I mean strong -all female cast.
From the first instance you know this book is going to be top of the scale of epicness, <i>Red Sister</i> will draw you in within moments of opening the pages.
It follows the story of Nona Grey- an eight year old girl saved from the noose by an unlikely saviour - a nun - Abbess Glass, leader of the Sweet Mercy Convent. Nona becomes a novice nun and begins her journey to becoming a Red Sister- a nun skilled in combat. At first the book can feel a little like you've stepped backwards in time to where children are bought and sold on the road, where the Church has almost absolute power and where little girls do not become killer nuns; however as the story progresses and Nona's back story is revealed to us piece by piece I found my original thoughts to be utter bullshit because frankly the plot is outstanding.
I'll hold my hand up and say I've never read a book about nuns before but Red Sister has ruined me for any other.
As signature with Mark's work, Red Sister has the perfect balance between seriousness and humour with some brilliant descriptions of the most simplest of things:
<blockquote>...and a quill. This latter gave the impression that the bird from which it was taken had died of some wasting disease, falling from its perch into a dirty puddle before being run over by several carts and finally thoroughly chewed by a hungry cat.</blockquote>
The dialogue was witty and the right tone for what is ultimately a group of girls in boarding school who both love and hate each other and what they do on a daily basis. The friendships made at Sweet Mercy are friendships built to last through the toughest of scenarios, literally through thick and thin. Nona's past catches up with her frequently and she is tested to her highest limits and on occasion shoved over that limit.
<blockquote>"Trust is the most insidious of poisons." </blockquote>
There are some harsh lessons to be learned in <i>Red Sister</i> and not just the physical ones - of which there are many. The plot is thick with action, betrayal, uncanny abilities and supernatural old world bloodlines that show through in current generations that haven't been seen since the first tribes settled in Abeth; with prophecies galore and the odd psycho, bare knuckle fighting in the pits and justice is wrought.
The revelations are spectacular and revealed in unexpected ways that have totally done them justice. The writing style of Mark Lawrence is once more on point with the right amount of length for each chapter; the supernatural demon element was written in a great way. Overall, it was a masterpiece of the genre and deserves all the stars.
<i>Red Sister</i> has been one of the highlights of my year so far and it is outstanding. I've tried not to give anything away which is hard cause I want to give all the spoilers! I'll leave you with a parting quote that sums up the book nicely.
<blockquote>"Words are steps along a path: The important thing is to get where you're going."</blockquote>
Gareth von Kallenbach (971 KP) rated Fighting with My Family (2019) in Movies
Jul 2, 2019
Wrestling sure has changed since its heyday back in the 80’s. Believe it or not, back in those days there were many people who believed it was real, the wrestlers themselves would use razor blades to cut their faces to further the illusion. Big names like Andre’ the Giant, Sargent Slaughter and Hulk Hogan dominated the scenes and Hulkamania was all the rage. Wrestling these days still has characters larger than life who wage good versus evil battles against one another. Although now the focus is not only on what happens in the ring, but the characters and personas that present themselves outside the ring. Fighting with My Family, written and directed by Stephen Merchant (writer for The Office and Extras), takes us on a young woman’s rise from a family wrestling league to one of the youngest female stars to be featured in WWE.
Saraya “Paige” Bevis (Florence Pugh) alongside her brother Zak “Zodiac” Bevis (Jack Lowden) and parents (Nick Frost / Lena Headey) are a family run wrestling team. Trying to make a name for themselves they run a small gym in Norwich, England. Training up-and-coming wrestlers and putting on shows for the locals in hopes of a shot at the big time. One fateful evening, while Zak’s far more conservative girlfriend and her parents are over for dinner, a call comes from the WWE that will change both of their lives.
Saraya and Zak are offered an opportunity to compete against others for a chance to join similar hopefuls in Florida for a chance to be the next big thing. As one would expect, the competition is fierce and at the end of the day, only Saraya is chosen for a chance to go to America. The choice to take her and not her brother results in a sibling rivalry that neither would have anticipated when they were both trying out. Ultimately Saraya must choose to go forward with her dream or stay with her family, and while the choice is not easy, there wouldn’t be much of a film if she chose to stay. So, begins Saraya’s journey to show that she has not only the skills and strength, but the heart to succeed.
Fighting with My Family is a movie that has a tremendous amount of heart even if there is little interest in its source material. While it certainly does focus on wrestling as the key component, it could have easily been replaced with any other sport and had the same heart-warming success. This is not a movie only about the wild world of professional wrestling, but about one woman who must overcome her own self-doubts and insecurities to succeed. It’s a film about not only believing in yourself (even when others do not) but pushing yourself to follow your dreams no matter how difficult the road to achieving them turns out to be. The film reminds us that we should not simply take everything at face value, and that sometimes judging a book by it’s cover can prevent us from the magic that is held in the pages underneath.
The superior cast connects with the viewers on many levels. Whether its Jack Lowden’s portrayal of a man who worked hard only to fall short of his dreams, to Florence Pugh’s portrayal of Paige, a woman who constantly struggles with her choice and whether wrestling is her dream or simply the dream her parents pushed upon her. As always Vince Vaughn does an outstanding job delivering not only on the comedic aspects of the film, but also when tasked at delivering a more serious tone. This is a movie that will have you cheering for each character, and even applauding throughout.
Even though wrestling was a huge part of growing up, spanning everything from action figures to video games, I’ve never considered myself to be a wrestling fan. For those of you who are instantly looking to forego this movie because of the wrestling content, I’d ask you to reconsider. Fighting with My Family is so much more than simply a “wrestling movie”, and while it likely won’t convert you into being a die hard wrestling fan at the end, you might just be surprised at how much you take away from it when you leave the theater. You’ll laugh, you’ll cry, you’ll cheer (at least that’s what all the viewers did at the screening I attended) and can you really say that about many movies these days?
Saraya “Paige” Bevis (Florence Pugh) alongside her brother Zak “Zodiac” Bevis (Jack Lowden) and parents (Nick Frost / Lena Headey) are a family run wrestling team. Trying to make a name for themselves they run a small gym in Norwich, England. Training up-and-coming wrestlers and putting on shows for the locals in hopes of a shot at the big time. One fateful evening, while Zak’s far more conservative girlfriend and her parents are over for dinner, a call comes from the WWE that will change both of their lives.
Saraya and Zak are offered an opportunity to compete against others for a chance to join similar hopefuls in Florida for a chance to be the next big thing. As one would expect, the competition is fierce and at the end of the day, only Saraya is chosen for a chance to go to America. The choice to take her and not her brother results in a sibling rivalry that neither would have anticipated when they were both trying out. Ultimately Saraya must choose to go forward with her dream or stay with her family, and while the choice is not easy, there wouldn’t be much of a film if she chose to stay. So, begins Saraya’s journey to show that she has not only the skills and strength, but the heart to succeed.
Fighting with My Family is a movie that has a tremendous amount of heart even if there is little interest in its source material. While it certainly does focus on wrestling as the key component, it could have easily been replaced with any other sport and had the same heart-warming success. This is not a movie only about the wild world of professional wrestling, but about one woman who must overcome her own self-doubts and insecurities to succeed. It’s a film about not only believing in yourself (even when others do not) but pushing yourself to follow your dreams no matter how difficult the road to achieving them turns out to be. The film reminds us that we should not simply take everything at face value, and that sometimes judging a book by it’s cover can prevent us from the magic that is held in the pages underneath.
The superior cast connects with the viewers on many levels. Whether its Jack Lowden’s portrayal of a man who worked hard only to fall short of his dreams, to Florence Pugh’s portrayal of Paige, a woman who constantly struggles with her choice and whether wrestling is her dream or simply the dream her parents pushed upon her. As always Vince Vaughn does an outstanding job delivering not only on the comedic aspects of the film, but also when tasked at delivering a more serious tone. This is a movie that will have you cheering for each character, and even applauding throughout.
Even though wrestling was a huge part of growing up, spanning everything from action figures to video games, I’ve never considered myself to be a wrestling fan. For those of you who are instantly looking to forego this movie because of the wrestling content, I’d ask you to reconsider. Fighting with My Family is so much more than simply a “wrestling movie”, and while it likely won’t convert you into being a die hard wrestling fan at the end, you might just be surprised at how much you take away from it when you leave the theater. You’ll laugh, you’ll cry, you’ll cheer (at least that’s what all the viewers did at the screening I attended) and can you really say that about many movies these days?
Kirk Bage (1775 KP) rated Marriage Story (2019) in Movies
Mar 3, 2020
To say I found this hard to watch could not be more understated. Any adult that has risked their whole life on a true love that runs its course and then fails must surely feel the same. It happens to most of us once or twice in a lifetime, and resonates forever. Such is the level of truth and sadness on display in Noah Baumbach’s beautifully written and directed tale of two people in turmoil, whose biggest obstacle is not one another, but the dispassion and ineffectiveness of legality, and even friends and family, to resolve big issues of a personal nature.
As with the obvious reference point of the seminal take on divorce, Robert Benton’s 1979 Oscar winner Kramer Vs. Kramer, the point is not at all about taking sides and choosing a winner… because everyone loses in a break-up. The only thing you can hope is that it doesn’t tear the child / children apart, and that at least some memory of the love that once was isn’t entirely forgotten. You also hope that you will survive, once you realise you are not part of a whole any more, and you must now figure out who you are and where to go. Even the grief of death is sometimes not as devastating. And this beyond mature film acknowledges that.
Not that it is all doom and gloom. There is some real humour and joy wrapped up inside the detail of Marriage Story’s script. As you would expect from the guy who gave us the massively under-rated The Squid and the Whale, from 2005. It assumes an emotional intelligence similar to the best films of Woody Allen, with which he clearly shares some sense of creative style and sensibility. But let’s not open that can of worms at this juncture.
The idea that Scarlett Johansson can even be thought of as a double Oscar nominee this year may be galling to some naysayers, but it comes as no surprise to me at all. Despite a career touching on the lighter side of cinema, there are some bold artistic choices in there too, and personally I have always seen that potential. As Nicole, she not only creates a fully rounded character different from anything I have ever seen her do; believable and interesting in every way, but also holds her own against one of the major talents working in film today – Mr Adam Driver. And that is no mean feat! Another balance comparison that can be made to the epic battle of Streep Vs Hoffman, decades before. And as with Streep before her, there are moments where we entirely see her side of things and stop questioning male vs female politics and just see the person battling underneath it all.
However, and not remotely because I am likely to relate to the male point of view, the work Adam Driver is doing here is close to transcendent! I have made no secret of wanting Joaquin Phoenix to win every accolade going for his turn in Joker. And what a shame the two have to be compared, because Driver’s work here is second to none! I find it so completely exciting for the future of cinema that he is out there doing his thing – evidently, it is about as breath-taking as screen acting has ever been!
It is not only his ability to convey vulnerability and humanity in every role he takes on; it his control that really impresses. To such an extent that I begin to wonder if there is anything he could not do better than 99% of anyone working today, if well cast. Make no mistake, at any level, this is one of hell of a talent, making the right choices in the roles he does at almost every crossroads. Consider the latest Star Wars trilogy without him, and ponder what weak popcorn fare it might have been without him?
Marriage Story as a complete piece is worthy of dissection and multiple re-watches. I am happy to say that, only hours after seeing it myself. There simply isn’t a doubt. As a serious commentary on break-ups then it may be, at the moment, tertiary in my mind to both the aforementioned Kramer Vs Kramer and the sickeningly sad Blue Valentine. But, it is perhaps more real than either of those, and will certainly build in my psyche as time passes.
In conclusion: Yes! I have no inclination to fault it. And may have more to say at a different point…
As with the obvious reference point of the seminal take on divorce, Robert Benton’s 1979 Oscar winner Kramer Vs. Kramer, the point is not at all about taking sides and choosing a winner… because everyone loses in a break-up. The only thing you can hope is that it doesn’t tear the child / children apart, and that at least some memory of the love that once was isn’t entirely forgotten. You also hope that you will survive, once you realise you are not part of a whole any more, and you must now figure out who you are and where to go. Even the grief of death is sometimes not as devastating. And this beyond mature film acknowledges that.
Not that it is all doom and gloom. There is some real humour and joy wrapped up inside the detail of Marriage Story’s script. As you would expect from the guy who gave us the massively under-rated The Squid and the Whale, from 2005. It assumes an emotional intelligence similar to the best films of Woody Allen, with which he clearly shares some sense of creative style and sensibility. But let’s not open that can of worms at this juncture.
The idea that Scarlett Johansson can even be thought of as a double Oscar nominee this year may be galling to some naysayers, but it comes as no surprise to me at all. Despite a career touching on the lighter side of cinema, there are some bold artistic choices in there too, and personally I have always seen that potential. As Nicole, she not only creates a fully rounded character different from anything I have ever seen her do; believable and interesting in every way, but also holds her own against one of the major talents working in film today – Mr Adam Driver. And that is no mean feat! Another balance comparison that can be made to the epic battle of Streep Vs Hoffman, decades before. And as with Streep before her, there are moments where we entirely see her side of things and stop questioning male vs female politics and just see the person battling underneath it all.
However, and not remotely because I am likely to relate to the male point of view, the work Adam Driver is doing here is close to transcendent! I have made no secret of wanting Joaquin Phoenix to win every accolade going for his turn in Joker. And what a shame the two have to be compared, because Driver’s work here is second to none! I find it so completely exciting for the future of cinema that he is out there doing his thing – evidently, it is about as breath-taking as screen acting has ever been!
It is not only his ability to convey vulnerability and humanity in every role he takes on; it his control that really impresses. To such an extent that I begin to wonder if there is anything he could not do better than 99% of anyone working today, if well cast. Make no mistake, at any level, this is one of hell of a talent, making the right choices in the roles he does at almost every crossroads. Consider the latest Star Wars trilogy without him, and ponder what weak popcorn fare it might have been without him?
Marriage Story as a complete piece is worthy of dissection and multiple re-watches. I am happy to say that, only hours after seeing it myself. There simply isn’t a doubt. As a serious commentary on break-ups then it may be, at the moment, tertiary in my mind to both the aforementioned Kramer Vs Kramer and the sickeningly sad Blue Valentine. But, it is perhaps more real than either of those, and will certainly build in my psyche as time passes.
In conclusion: Yes! I have no inclination to fault it. And may have more to say at a different point…
Bob Mann (459 KP) rated Black Panther (2018) in Movies
Sep 29, 2021
Black Ops.
There was a joke on the internet the other day that made me laugh and laugh. Virtually the only white people in “Black Panther” are the Hobbit/LOTR stars Martin Freeman and Andy Serkis…. they are the Tolkein white guys! It’s actually getting to feel quite isolating as an ‘average white guy’ at the movies! After a plethora of #SheDo films about empowered women, now comes the first black-centred Marvel film… stuffed full of powerful women too!
The setting is the hidden African kingdom of Wakanda, where due to an abundance of a an all-powerful mineral called McGuffinite… so, sorry, Vibranium… the leaders have made their city a technological marvel and developed all sorts of ad tech to help the people keep their goats well and weave their baskets better (there are a few odd scenes in this film!). T’Challa (Chadwick Boseman) succeeds his father T’Chaka (John Kani) to become the king and adopt the role of The Black Panther, being bestowed superhero powers by drinking a glass of Ribena.
But it emerges that T’Chaka has a dark secret in the form of Eric Killmonger (Michael B Jordan, “Creed“) who is determined to muscle in on the king-stuff. ‘It never rains but it pours’, and the whole of Wakanda’s secrets are in danger of being exposed by the antics of the vicious South African mercenary Ulysses Klaue (Andy Serkis, “War For The Planet Of The Apes“), trying to get his hands on vibranium to sell on to CIA operative Everett Ross (Martin Freeman, “The Hobbit: The Battle of the Five Armies“, “The World’s End“).
After “Thor: Ragnarok“, this is back to the more seriously-played end of the superhero spectrum: there are a few jokes but it’s not overtly played for comedy. Holding the film together are some sterling performances from the ensemble cast with Michael B Jordan very good as the villain of the piece. Adding to the significant black girl power in the film are Angela Bassett (“London Has Fallen“) as the queen mother; Danai Gurira (“Wonder Woman“) as the leader of the Dora Milaje: the all-female king’s guard; and Lupita Nyong’o (“12 Years a Slave“, “Star Wars: The Force Awakens“) as the spy and love interest Nakia. But the star performance for me, and one I found absolutely spot-on as a role model for young people, was Letitia Wright (“The Commuter“) as Shuri, the king’s chief scientist. She is absolutely radiant, adding beauty, rude gestures and energy to every scene she is in.
Man of the moment Daniel Kaluuya (“Get Out“) also adds to his movie-cred as a conflicted courtier.
On the white side of the shop Andy Serkis has enormous fun as Klaue and I really wanted to see more of his character than I did. Martin Freeman feels rather lightweight and under-used, and I couldn’t quite get past his dodgy American accent.
In terms of storyline, the film is a hotch-potch of plots from multiple other films, with “The Lion King” featuring strongly (but almost in reverse!). But that’s no crime, when the Shakespearean-style narrative is good, and interpolating the strongly emotional story into the Marvel universe works well.
Where I felt a little uncomfortable is the element of racism – that is, racism *against* white people – reflected in the story. If there was a movie plot centred (basically) on the topic of whites killing blacks and taking control of every black-controlled country in the world (yes, I know, I’m British and we have historically been there!) then there would be justified uproar, and the film would be shunned.
In the technical department, I had real problems with some of the effects employed. Starting with a dodgy ‘aircraft’ shadow, things nose-dive with an astonishingly poor waterfall scene with Forest Whitaker (“Rogue One“, “Arrival“) as Zuri, green-screened against some Disneyworld cascades and hundreds of cut and pasted tribesmen randomly inserted onto the cliffs. Almost matching that is a studio-set scene in a jungle clearing, where if feels they could hardly have bothered to take the plants out of their pots. Think “Daktari” quality (kids, ask your parents/grandparents).
But overall, the film, directed by Ryan Coogler (“Creed“), is a high-energy and uniquely different take on Marvel that absolutely pays off. And it is without doubt an important movie in moving the black agenda forward into properly mainstream cinema.
The setting is the hidden African kingdom of Wakanda, where due to an abundance of a an all-powerful mineral called McGuffinite… so, sorry, Vibranium… the leaders have made their city a technological marvel and developed all sorts of ad tech to help the people keep their goats well and weave their baskets better (there are a few odd scenes in this film!). T’Challa (Chadwick Boseman) succeeds his father T’Chaka (John Kani) to become the king and adopt the role of The Black Panther, being bestowed superhero powers by drinking a glass of Ribena.
But it emerges that T’Chaka has a dark secret in the form of Eric Killmonger (Michael B Jordan, “Creed“) who is determined to muscle in on the king-stuff. ‘It never rains but it pours’, and the whole of Wakanda’s secrets are in danger of being exposed by the antics of the vicious South African mercenary Ulysses Klaue (Andy Serkis, “War For The Planet Of The Apes“), trying to get his hands on vibranium to sell on to CIA operative Everett Ross (Martin Freeman, “The Hobbit: The Battle of the Five Armies“, “The World’s End“).
After “Thor: Ragnarok“, this is back to the more seriously-played end of the superhero spectrum: there are a few jokes but it’s not overtly played for comedy. Holding the film together are some sterling performances from the ensemble cast with Michael B Jordan very good as the villain of the piece. Adding to the significant black girl power in the film are Angela Bassett (“London Has Fallen“) as the queen mother; Danai Gurira (“Wonder Woman“) as the leader of the Dora Milaje: the all-female king’s guard; and Lupita Nyong’o (“12 Years a Slave“, “Star Wars: The Force Awakens“) as the spy and love interest Nakia. But the star performance for me, and one I found absolutely spot-on as a role model for young people, was Letitia Wright (“The Commuter“) as Shuri, the king’s chief scientist. She is absolutely radiant, adding beauty, rude gestures and energy to every scene she is in.
Man of the moment Daniel Kaluuya (“Get Out“) also adds to his movie-cred as a conflicted courtier.
On the white side of the shop Andy Serkis has enormous fun as Klaue and I really wanted to see more of his character than I did. Martin Freeman feels rather lightweight and under-used, and I couldn’t quite get past his dodgy American accent.
In terms of storyline, the film is a hotch-potch of plots from multiple other films, with “The Lion King” featuring strongly (but almost in reverse!). But that’s no crime, when the Shakespearean-style narrative is good, and interpolating the strongly emotional story into the Marvel universe works well.
Where I felt a little uncomfortable is the element of racism – that is, racism *against* white people – reflected in the story. If there was a movie plot centred (basically) on the topic of whites killing blacks and taking control of every black-controlled country in the world (yes, I know, I’m British and we have historically been there!) then there would be justified uproar, and the film would be shunned.
In the technical department, I had real problems with some of the effects employed. Starting with a dodgy ‘aircraft’ shadow, things nose-dive with an astonishingly poor waterfall scene with Forest Whitaker (“Rogue One“, “Arrival“) as Zuri, green-screened against some Disneyworld cascades and hundreds of cut and pasted tribesmen randomly inserted onto the cliffs. Almost matching that is a studio-set scene in a jungle clearing, where if feels they could hardly have bothered to take the plants out of their pots. Think “Daktari” quality (kids, ask your parents/grandparents).
But overall, the film, directed by Ryan Coogler (“Creed“), is a high-energy and uniquely different take on Marvel that absolutely pays off. And it is without doubt an important movie in moving the black agenda forward into properly mainstream cinema.
Ryan Hill (152 KP) rated Suicide Squad (2016) in Movies
May 9, 2019 (Updated May 26, 2019)
"Oh, I'm not gonna kill you... I'm just gonna hurt you really, really bad."
Suicide Squad, aka Suicide Squandered, was one of my most anticipated movies of 2016. It would bring back to the big screen one of the most iconic comic book characters, Mr. J, and Harley Quinn would make her long awaited movie debut. It also promised to offer a different approach on the superhero genre, as it would star the villains instead of the good guys.
However, the movie delivers much less than what it teases. It begins on a high note, by introducing some characters in a fun, energetic and fast-paced way, in spite of the messy editing that makes these segments look like mini trailers. It goes downhill from there, showing only a couple of scenes more that could justify all the love these superhero movies get. Ultimately, what distinguishes these sequences from the mediocre ones are the characters in them and whether the audience cares for them or not.
Displaying some information on the screen about certain characters or telling their backstory doesn't necessarily contribute to their development, nor to the knowledge the viewer has about them. Therefore, it's impossible to care about all the characters and only those who are played by the (more) famous actors have any meaning to the audience.
Will Smith's Deadshot is the best of the bunch. Smith has this unique ability to deliver comedic lines that many comedians wish they had. His charisma drives most of the movie and so does his character's motivation. Right now, he could be the only character capable of leading a franchise of his own. Deadshot ended up establishing a mildly interesting dynamic with Joel Kinnaman's forgettable Rick Flag.
Margot Robbie's Harley Quinn is the other character we end up caring about. Robbie provides a fantastic performance and hits all the right notes. Her amazing backstory is only slightly explored and it has potential for a future psychological thriller movie. With the right script and direction, it could be an incredible film. People have already talked about her body and I can only add that she could possibly be right below Kate Hudson's Penny Lane on the sexiest female movie characters. She could.
I love all sorts of crazy and psychotic performances on screen. In fact, one of my favourites is Gary Oldman's in Leon. Jared Leto delivers another one of those performances. It's truly stellar, I loved his interpretation of the Joker and I believe Leto can still receive high praise for his extraordinary efforts. It could happen in the form of that Batman movie, by Matt Reeves.
Just to conclude my thought on the performances, I would like to add that Viola Davis is an excellent Amanda Waller, even more menacing that Cara Delevingne's witch, more on that later. Jai Courtney was great , he got all the best jokes. Jay Hernandez sounds a lot like Jon Bernthal's Frank Castle, doesn't he? His Diablo is the best character, out of the less interesting ones. I love Katana from CW's Arrow and it was disappointing to see that the screenwriters didn't care about her, even more so because Karen Fukuhara seems perfect for the role. Killer Croc has the best entrance on water ever.
A movie is as good as its villain, right? Indeed. Cara Delevingne's Enchantress could very well be the worst movie villain ever. Malekith is relegated to second place. Honestly, I don't know who's to blame. Sure, Delevingne's acting isn't top-notch, but the screenwriters made her dance (?) in a weird way and her voice is laughable. The final result is ridiculous and by far the worst aspect of the movie.
While Batman v Superman: Dawn of Justice was a dark film and proud to 'own that shit', Suicide Squad is ashamed to exhibit that dark side, which results in confusing tone shifts. One moment, it's clearly a DC movie, and another, it is a Marvel family friendly one. Therefore, the comedy sometimes doesn't land, at all. Besides, I also didn't find anything special about the way the action was shot. It was generic stuff, mostly.
Suicide Squad is a huge waste of potential, that could have benefited from some character development and sharp editing. Its greatest strenght is undoubtedly the work done by the talented cast. Could a different cut fix some of these issues? Probably, yes. I was going to attribute 6 stars to this, but a second watch didn't help, either. By the way, what was your favourite sequence? Spoiler alert: mine was the one in which Joker jumps into the acid to Harley.
However, the movie delivers much less than what it teases. It begins on a high note, by introducing some characters in a fun, energetic and fast-paced way, in spite of the messy editing that makes these segments look like mini trailers. It goes downhill from there, showing only a couple of scenes more that could justify all the love these superhero movies get. Ultimately, what distinguishes these sequences from the mediocre ones are the characters in them and whether the audience cares for them or not.
Displaying some information on the screen about certain characters or telling their backstory doesn't necessarily contribute to their development, nor to the knowledge the viewer has about them. Therefore, it's impossible to care about all the characters and only those who are played by the (more) famous actors have any meaning to the audience.
Will Smith's Deadshot is the best of the bunch. Smith has this unique ability to deliver comedic lines that many comedians wish they had. His charisma drives most of the movie and so does his character's motivation. Right now, he could be the only character capable of leading a franchise of his own. Deadshot ended up establishing a mildly interesting dynamic with Joel Kinnaman's forgettable Rick Flag.
Margot Robbie's Harley Quinn is the other character we end up caring about. Robbie provides a fantastic performance and hits all the right notes. Her amazing backstory is only slightly explored and it has potential for a future psychological thriller movie. With the right script and direction, it could be an incredible film. People have already talked about her body and I can only add that she could possibly be right below Kate Hudson's Penny Lane on the sexiest female movie characters. She could.
I love all sorts of crazy and psychotic performances on screen. In fact, one of my favourites is Gary Oldman's in Leon. Jared Leto delivers another one of those performances. It's truly stellar, I loved his interpretation of the Joker and I believe Leto can still receive high praise for his extraordinary efforts. It could happen in the form of that Batman movie, by Matt Reeves.
Just to conclude my thought on the performances, I would like to add that Viola Davis is an excellent Amanda Waller, even more menacing that Cara Delevingne's witch, more on that later. Jai Courtney was great , he got all the best jokes. Jay Hernandez sounds a lot like Jon Bernthal's Frank Castle, doesn't he? His Diablo is the best character, out of the less interesting ones. I love Katana from CW's Arrow and it was disappointing to see that the screenwriters didn't care about her, even more so because Karen Fukuhara seems perfect for the role. Killer Croc has the best entrance on water ever.
A movie is as good as its villain, right? Indeed. Cara Delevingne's Enchantress could very well be the worst movie villain ever. Malekith is relegated to second place. Honestly, I don't know who's to blame. Sure, Delevingne's acting isn't top-notch, but the screenwriters made her dance (?) in a weird way and her voice is laughable. The final result is ridiculous and by far the worst aspect of the movie.
While Batman v Superman: Dawn of Justice was a dark film and proud to 'own that shit', Suicide Squad is ashamed to exhibit that dark side, which results in confusing tone shifts. One moment, it's clearly a DC movie, and another, it is a Marvel family friendly one. Therefore, the comedy sometimes doesn't land, at all. Besides, I also didn't find anything special about the way the action was shot. It was generic stuff, mostly.
Suicide Squad is a huge waste of potential, that could have benefited from some character development and sharp editing. Its greatest strenght is undoubtedly the work done by the talented cast. Could a different cut fix some of these issues? Probably, yes. I was going to attribute 6 stars to this, but a second watch didn't help, either. By the way, what was your favourite sequence? Spoiler alert: mine was the one in which Joker jumps into the acid to Harley.
Gareth von Kallenbach (971 KP) rated Death Race (2008) in Movies
Aug 14, 2019
In 1975, legendary B-movie producer Roger Corman showed audiences a look at the near future with a biting film that deftly blended action and political commentary and satire. The film was “Death Race 2000” and starred David Carradine and featured a pre-“Rocky” Sylvester Stallone as bitter rivals in a brutal cross country race where finishing first was second only to the amount of death and carnage a driver left in their wake.
The film became a cult hit, and paved the way for films such as “Rollerball”, “Arena”, and countless other films that featured bloodlust sporting events for the masses a la Rome in the age of gladiators at the coliseum. Thirty-three years later, audiences are given the new and upgraded “Death Race” which benefits from a bigger budget with more carnage than the original film that inspired it ever dreamed of.
The film opens with an eerie warning of today’s troubled economic times, stating that the U.S.
economy collapses in 2012 and record unemployment and crime sweep the nation. With prisons overcrowded, corporations run correctional facilities for a profit and soon offer caged matches between inmates for the viewing pleasure of the nation. At first the matches are a huge success but soon lose their appeal to an audience that is eager for even bloodier sport.
In an effort to keep the cash flowing, the Death Race is created which pits convicts against one another in a brutal mix of speed, firepower, and death which in a few years surpasses even the Super Bowl as the most watched sporting event in the world.
Jason Statham stars as Jensen Ames, a former race driver who is framed for the murder of his wife and faces the prospect of life in prison while his daughter is raised by strangers. With the Death Race losing some if its audience, its creator, and warden of the prison, Hennessey (Joan Allen), offers Jensen a solution to both of their problems. If Jensen will pose as the masked Frankenstein for the race and win, he will be granted his freedom. It is learned that the real Frankenstein has finally succumbed to the numerous injuries he has incurred racing, and rather than risk losing his vast legions of fans who drive the ratings, it is easier to replace him than lose him, especially since recent races without Frankenstein had not garnered the same ratings as his past races.
It is explained that should a driver win five death races, they will be set free. Since Frankenstein has won four races, all Jensen has to do is win the race and stay alive to earn his freedom. Jensen is faced with an menacing list of adversaries including the deadly Machine Gun Joe (Tyrese Gibson), who is the biggest threat to Jensen with an absolute hatred for Frankenstein. Gun Joe is a cold-blooded killer who wants nothing more than two more race wins to earn his freedom and will stop at nothing to get it.
Jensen is assisted by the talented Coach (Ian McShane), who dispenses wisdom while overseeing the crew that outfits Jensen’s suped up, armor-plated, and very heavily armed racer. Assigned to ride with Jensen as his Navigator is Case (Natalie Martinez), a female prisoner who, like many of her fellow navigators, sees the race as a chance to earn their freedom and other special perks which makes risking their lives a worthwhile endeavor.
As the race unfolds in three stages, Jensen is tasked with not only surviving the threats Machine Gun Joe and the other racers aim his way, but surviving the twisted scheme that has him in its grasp.
The action of the film is fast, brutal, and unforgiving and is easily the highlight of the film. Sadly there are plenty of scenes with stiff and uninspired characters, numerous plot holes and leaps of logic, and clichés that bog the film down.
Statham is his usual soft talking hard man, a character he has made a career out of playing in such films as the “Crank” and the “Transporter” series. But unlike those films, he is not given much material to work with here. Statham has done solid work in the past but Jensen is a paper thin character who never fully given a chance to develop nor be embraced by the audience.
The same is true for the rest of the cast, a talented ensemble left to languish in want of better material. The film is directed by Paul W.S. Anderson of the “Resident Evil” series who once again shows that he has an eye for action, but still has issues with pacing and unsympathetic characters. This is a shame as the premise of the film is solid, but unlike the original, lacks the social and political commentary needed to balance the carnage and mayhem.
With a little more time in shop and tinkering, this could have been a solid action film, instead it stalls at the starting line badly in need of a tune up.
The film became a cult hit, and paved the way for films such as “Rollerball”, “Arena”, and countless other films that featured bloodlust sporting events for the masses a la Rome in the age of gladiators at the coliseum. Thirty-three years later, audiences are given the new and upgraded “Death Race” which benefits from a bigger budget with more carnage than the original film that inspired it ever dreamed of.
The film opens with an eerie warning of today’s troubled economic times, stating that the U.S.
economy collapses in 2012 and record unemployment and crime sweep the nation. With prisons overcrowded, corporations run correctional facilities for a profit and soon offer caged matches between inmates for the viewing pleasure of the nation. At first the matches are a huge success but soon lose their appeal to an audience that is eager for even bloodier sport.
In an effort to keep the cash flowing, the Death Race is created which pits convicts against one another in a brutal mix of speed, firepower, and death which in a few years surpasses even the Super Bowl as the most watched sporting event in the world.
Jason Statham stars as Jensen Ames, a former race driver who is framed for the murder of his wife and faces the prospect of life in prison while his daughter is raised by strangers. With the Death Race losing some if its audience, its creator, and warden of the prison, Hennessey (Joan Allen), offers Jensen a solution to both of their problems. If Jensen will pose as the masked Frankenstein for the race and win, he will be granted his freedom. It is learned that the real Frankenstein has finally succumbed to the numerous injuries he has incurred racing, and rather than risk losing his vast legions of fans who drive the ratings, it is easier to replace him than lose him, especially since recent races without Frankenstein had not garnered the same ratings as his past races.
It is explained that should a driver win five death races, they will be set free. Since Frankenstein has won four races, all Jensen has to do is win the race and stay alive to earn his freedom. Jensen is faced with an menacing list of adversaries including the deadly Machine Gun Joe (Tyrese Gibson), who is the biggest threat to Jensen with an absolute hatred for Frankenstein. Gun Joe is a cold-blooded killer who wants nothing more than two more race wins to earn his freedom and will stop at nothing to get it.
Jensen is assisted by the talented Coach (Ian McShane), who dispenses wisdom while overseeing the crew that outfits Jensen’s suped up, armor-plated, and very heavily armed racer. Assigned to ride with Jensen as his Navigator is Case (Natalie Martinez), a female prisoner who, like many of her fellow navigators, sees the race as a chance to earn their freedom and other special perks which makes risking their lives a worthwhile endeavor.
As the race unfolds in three stages, Jensen is tasked with not only surviving the threats Machine Gun Joe and the other racers aim his way, but surviving the twisted scheme that has him in its grasp.
The action of the film is fast, brutal, and unforgiving and is easily the highlight of the film. Sadly there are plenty of scenes with stiff and uninspired characters, numerous plot holes and leaps of logic, and clichés that bog the film down.
Statham is his usual soft talking hard man, a character he has made a career out of playing in such films as the “Crank” and the “Transporter” series. But unlike those films, he is not given much material to work with here. Statham has done solid work in the past but Jensen is a paper thin character who never fully given a chance to develop nor be embraced by the audience.
The same is true for the rest of the cast, a talented ensemble left to languish in want of better material. The film is directed by Paul W.S. Anderson of the “Resident Evil” series who once again shows that he has an eye for action, but still has issues with pacing and unsympathetic characters. This is a shame as the premise of the film is solid, but unlike the original, lacks the social and political commentary needed to balance the carnage and mayhem.
With a little more time in shop and tinkering, this could have been a solid action film, instead it stalls at the starting line badly in need of a tune up.
Bob Mann (459 KP) rated Captain Marvel (2019) in Movies
Sep 28, 2021
Women: Be the Best Version of Yourselves!
So, after much brouhaha and trolling – probably mostly from woman-hating teenage nerds who can’t get laid – Brie Larson‘s hyper-hero barrels onto our cinema screens.
Stan Lee tribute.
First off, what a Marvel-lous idea to pay tribute to Stan Lee in the Marvel production logo for this film. Michael Giacchino‘s rousing Marvel anthem leads to a simple title card: “Thanks Stan”. Poignant and touching.
Lee makes another cameo in this film. I wonder how many more of these they have in the can? Will they “do a Princess Leia” in future films and CGI in his cameos? I’m not a great fan of this, but he’s such a staple part of the show that – with his family’s permission of course – I would actually welcome having that happen in this specific case.
The Plot.
The movie opens on the Kree home world of Hala where Vers, a member of Starforce (“a race of noble warrior heroes”), is being put through her paces by her mentor Yon-Rogg (Jude Law). But she is one mixed up lady, having some exceptional powers but no memory of her past. As an example of this, when she communes with the ‘Supreme Intelligence’ (who looks different to everyone) she sees a woman (Annette Bening) who she clearly admires but she has no idea why.
The Kree are at war against the race of terrorist thugs known as the Skrulls. (Their name reminds me of a classic Mitchell and Webb Nazi SS sketch – “We have skulls on our caps…. does that mean we’re the baddies?”). After a Skrull ambush and some judicious brain-delving, Vers surfaces memories that leads her back to the Terran home world and a past that is set to redefine her future.
What’s good.
A lot. I really enjoyed this Marvel outing. With all the nay-sayers, I went in with low expectations, but the story actually built well and Brie Larson makes the role her own. It goes without saying that she looks gorgeous and fills out that costume very nicely! (The zero gravity ‘hair scene’ is spectacular). But she manages to convey with that style superhero grit with an essence of quirky humour running underneath it. In doing so she holds the whole film together.
Also spectacular were the ‘youngified’ Nick Fury (Samuel L Jackson) and Agent Coulson (Clark Gregg). The effect could have been ‘uncanny valley’ with knobs on, but is actually done so well I didn’t even notice. The chemistry between Jackson and Larson is great.
In the strong supporting cast Annette Bening is pure class, and a well-toned Jude Law seems to be having enormous fun. Elsewhere, Ben Mendelsohn (of “Rogue One” fame) is the leader of the Krulls and “Goose” is played by Reggie, Gonzo, Archie and Rizzo! (Flerkin hell!)
The Marvel/DC Laff-ometer.
A key characteristic of the Marvel/DC films is the humour injected (more it has to be said in Marvel than DC), and in terms of the Marvel/DC-laffometer, this film probably lies fairly in the middle of the range. It’s not the snort-fest of Ragnarok or GotG, but neither is it at the po-faced Man of Steel end. Much fun is made of the 1995 setting with gags from Arnie in “True Lies” to computer loading times being well-exploited.
There are also lots of great Marvel in-jokes, not least of which is the story behind Fury losing his eye: hilarious!
What’s not so good.
The problem I have with “Transformers” films is that there is little tension for me in seeing robots hitting ten-bells out of each other. I’ve similarly commented that many superhero movies have the same flaw that (Thanos aside, as things stand) they are pretty much indestructible and there is little threat implied. Captain Marvel however takes this to entirely different levels: the Hulk smash is a mere gnat-bite compared to what Carol Danvers can deliver; storming through planet-busting nuclear weapons and starships without a scratch. It’s so over-the-top that a showdown scene in the finale, although played for a laugh, also becomes laughable in the wrong way.
The film also ladles on female empowerment as if it was gravy in an Australian chip shop! (I bet Theresa May has the film on permanent loop in the Downing Street home cinema). Don’t get me wrong, I am a big supporter of #MeToo (and indeed #SheDo), but the film is a bit too heavy handed in its messaging in this area.
A troop of monkeys.
There are two extra scenes in the end titles (“monkeys“) and they are both corkers. The first bridges directly from “Infinity War” to “Endgame”, picking up (literally) that pager that Nick Fury was no longer able to hang onto; the second a nice sight gag featuring Goose that links the end of this film to the “monkey” at the end of Thor! Well worth waiting for!
Final Thoughts.
This was a Marvel film I really enjoyed, and which I would definitely re-watch. It’s been written and directed by ‘indie’ writing duo Anna Boden and Ryan Fleck (with Geneva Robertson-Dworet also contributing to the screenplay), and very well done it is in my view. Not everyone seems to have liked it: but I did!
On April 25th, the Danvers vs Thanos match is going to be a bout that will be worth buying tickets to see!
Stan Lee tribute.
First off, what a Marvel-lous idea to pay tribute to Stan Lee in the Marvel production logo for this film. Michael Giacchino‘s rousing Marvel anthem leads to a simple title card: “Thanks Stan”. Poignant and touching.
Lee makes another cameo in this film. I wonder how many more of these they have in the can? Will they “do a Princess Leia” in future films and CGI in his cameos? I’m not a great fan of this, but he’s such a staple part of the show that – with his family’s permission of course – I would actually welcome having that happen in this specific case.
The Plot.
The movie opens on the Kree home world of Hala where Vers, a member of Starforce (“a race of noble warrior heroes”), is being put through her paces by her mentor Yon-Rogg (Jude Law). But she is one mixed up lady, having some exceptional powers but no memory of her past. As an example of this, when she communes with the ‘Supreme Intelligence’ (who looks different to everyone) she sees a woman (Annette Bening) who she clearly admires but she has no idea why.
The Kree are at war against the race of terrorist thugs known as the Skrulls. (Their name reminds me of a classic Mitchell and Webb Nazi SS sketch – “We have skulls on our caps…. does that mean we’re the baddies?”). After a Skrull ambush and some judicious brain-delving, Vers surfaces memories that leads her back to the Terran home world and a past that is set to redefine her future.
What’s good.
A lot. I really enjoyed this Marvel outing. With all the nay-sayers, I went in with low expectations, but the story actually built well and Brie Larson makes the role her own. It goes without saying that she looks gorgeous and fills out that costume very nicely! (The zero gravity ‘hair scene’ is spectacular). But she manages to convey with that style superhero grit with an essence of quirky humour running underneath it. In doing so she holds the whole film together.
Also spectacular were the ‘youngified’ Nick Fury (Samuel L Jackson) and Agent Coulson (Clark Gregg). The effect could have been ‘uncanny valley’ with knobs on, but is actually done so well I didn’t even notice. The chemistry between Jackson and Larson is great.
In the strong supporting cast Annette Bening is pure class, and a well-toned Jude Law seems to be having enormous fun. Elsewhere, Ben Mendelsohn (of “Rogue One” fame) is the leader of the Krulls and “Goose” is played by Reggie, Gonzo, Archie and Rizzo! (Flerkin hell!)
The Marvel/DC Laff-ometer.
A key characteristic of the Marvel/DC films is the humour injected (more it has to be said in Marvel than DC), and in terms of the Marvel/DC-laffometer, this film probably lies fairly in the middle of the range. It’s not the snort-fest of Ragnarok or GotG, but neither is it at the po-faced Man of Steel end. Much fun is made of the 1995 setting with gags from Arnie in “True Lies” to computer loading times being well-exploited.
There are also lots of great Marvel in-jokes, not least of which is the story behind Fury losing his eye: hilarious!
What’s not so good.
The problem I have with “Transformers” films is that there is little tension for me in seeing robots hitting ten-bells out of each other. I’ve similarly commented that many superhero movies have the same flaw that (Thanos aside, as things stand) they are pretty much indestructible and there is little threat implied. Captain Marvel however takes this to entirely different levels: the Hulk smash is a mere gnat-bite compared to what Carol Danvers can deliver; storming through planet-busting nuclear weapons and starships without a scratch. It’s so over-the-top that a showdown scene in the finale, although played for a laugh, also becomes laughable in the wrong way.
The film also ladles on female empowerment as if it was gravy in an Australian chip shop! (I bet Theresa May has the film on permanent loop in the Downing Street home cinema). Don’t get me wrong, I am a big supporter of #MeToo (and indeed #SheDo), but the film is a bit too heavy handed in its messaging in this area.
A troop of monkeys.
There are two extra scenes in the end titles (“monkeys“) and they are both corkers. The first bridges directly from “Infinity War” to “Endgame”, picking up (literally) that pager that Nick Fury was no longer able to hang onto; the second a nice sight gag featuring Goose that links the end of this film to the “monkey” at the end of Thor! Well worth waiting for!
Final Thoughts.
This was a Marvel film I really enjoyed, and which I would definitely re-watch. It’s been written and directed by ‘indie’ writing duo Anna Boden and Ryan Fleck (with Geneva Robertson-Dworet also contributing to the screenplay), and very well done it is in my view. Not everyone seems to have liked it: but I did!
On April 25th, the Danvers vs Thanos match is going to be a bout that will be worth buying tickets to see!
Bob Mann (459 KP) rated Alita: Battle Angel (2019) in Movies
Sep 28, 2021
A Berserk Excursion Down Uncanny Valley.
“I see you”. James Cameron‘s fingerprints are all over this one, as producer ahead of his threatened (and with this movie-goer, entirely unwanted) Avatar sequels. Alita is a huge great smelly CGI mess of a film, but quite fun with it.
The Plot.
Christophe Waltz plays Dr. Dyson (no, not that one), a cyber-surgeon in the 24th century whose job is to give cyber/human crossovers (which just about everyone now seems to be) a ‘service’ to get them back on the road again.
Hanging over Iron City – in just the same way as bricks don’t – is a huge floating cloud city called Zalem (“What keeps it up?”; “Engineering!”). A stream of detritus falls from the city into the scrap yards below, and Dr Dyson scavenges through the mess for parts. He discovers that the best way to get ahead in business is to… get a head! In this case, it’s the head and upper torso of a female ‘teenage’ cyber-girl who he finds to be still alive and who he names “Alita”.
But Alita (Rosa Salazar) isn’t just any teenage girl. When fitted out with a new body, one very precious to Dyson, Alita proves to have massive strength and dexterity which sets her up to trial for the national sport of Motorball: a no-holds-barred race around an arena to capture and keep a ball. Her love interest, Hugo (Keean Johnson), can help her in that department.
But dark forces are also in play and the agents of Nova, the Zalem-overseer, have great interest in destroying Alita before she can damage his plans.
What a mess!
I’ve significantly simplified the plot and reduced the characters referenced. There are so many different things going on here, it’s like they’ve made Back to the Future I, II and III and squeezed them all into one film. There’s Dyson’s ex-wife Chiran (Jennifer Connolly) and her partner in crime Vector (Maherashala Ali); there’s their pet thug called Grewishka (Jackie Earle Haley); there’s a bunch of “Hunter-Warriors” including a vicious sword-wielding guy called Zapan (Ed Skrein); there’s a kind of “Lost Boys” vibe to Hugo’s pals including Alita-hater Tanji (Jorge Lendeborg Jr.); etc. etc. etc. It’s a huge great sprawling mess of a plot.
The movie is also highly derivative, and watching it feels like you are working through a mental set of check-boxes of the films it apes: Wall-E (check); Elysium (check); Terminator (check); Rollerball (if you’re old enough to remember that one) (check); even some Harry Potter quidditch thrown in for good measure.
Urm… berserk dialogue.
The story is based on a Manga work by Yukito Kishiro, but the script by James Cameron, director Robert Rodriquez and Laeta Kalogridis has some bat-shit crazy moments.
Remembering that Cameron in Avatar brought us the mineral ‘unobtainium’ there are similar ‘jolt yourself awake’ moments here. At one point Waltz starts talking about what sounds like “Panda c***s”…. I’m sorry… what?? (This was clearly an episode of David Attenborough’s “Life on Earth” that passed me by! Although frankly, if male pandas took a bit more interest in panda c***s, that wouldn’t necessarily be a bad thing. But I digress….)
The turns.
What stands out if the quality of the cast. Who wouldn’t kill to have Waltz, Connolly and Ali starring in their film? The inclusion of Maherashala Ali in here was a surprise to me. I know he has had a part in “The Hunger Games” series, but this is surely (Marvel must be kicking themselves) his most ‘mainstream’ film to date. And he again really shows his class, bringing a gravitas to all the scenes he’s in.
It was also interesting to see Ed Skrein in a movie for the second time in a month. He was the racist cop in “If Beale Street Could Talk“, and here he plays an equally unpleasant character with a sideline in vanity.
Also good fun is to see the cameo of who plays Nova in the final scene of the film. I was not expecting that.
But the film lives and dies on believing Alita, and after you get used to the rather spooky ‘uncanny valley’ eyes, Rosa Salazar really breathes life into the android character: you can really believe its a teenage android girl developing her understanding of the world and of love. (We’ll gloss over the age thing here which doesn’t make a lot of sense!). One thing’s for sure, when Alita gives her heart to a boy, she really gives her heart to a boy!
Will I like it?
I was not expecting to, but did. It’s a big, brash, loud CGI-stuffed adventure, but well done and visually appealing (as you would expect given the director is Robert Rodriguez of “Sin City” fame). The BBFC have given it a 12A rating in the UK, which feels appropriate: there are some pretty graphic scenes of violence (true they are “mostly involving robots fighting each other” as the BBFC says, but not all). That would make it not very suitable for younger children.
But I was entertained. You might well be too.
The Plot.
Christophe Waltz plays Dr. Dyson (no, not that one), a cyber-surgeon in the 24th century whose job is to give cyber/human crossovers (which just about everyone now seems to be) a ‘service’ to get them back on the road again.
Hanging over Iron City – in just the same way as bricks don’t – is a huge floating cloud city called Zalem (“What keeps it up?”; “Engineering!”). A stream of detritus falls from the city into the scrap yards below, and Dr Dyson scavenges through the mess for parts. He discovers that the best way to get ahead in business is to… get a head! In this case, it’s the head and upper torso of a female ‘teenage’ cyber-girl who he finds to be still alive and who he names “Alita”.
But Alita (Rosa Salazar) isn’t just any teenage girl. When fitted out with a new body, one very precious to Dyson, Alita proves to have massive strength and dexterity which sets her up to trial for the national sport of Motorball: a no-holds-barred race around an arena to capture and keep a ball. Her love interest, Hugo (Keean Johnson), can help her in that department.
But dark forces are also in play and the agents of Nova, the Zalem-overseer, have great interest in destroying Alita before she can damage his plans.
What a mess!
I’ve significantly simplified the plot and reduced the characters referenced. There are so many different things going on here, it’s like they’ve made Back to the Future I, II and III and squeezed them all into one film. There’s Dyson’s ex-wife Chiran (Jennifer Connolly) and her partner in crime Vector (Maherashala Ali); there’s their pet thug called Grewishka (Jackie Earle Haley); there’s a bunch of “Hunter-Warriors” including a vicious sword-wielding guy called Zapan (Ed Skrein); there’s a kind of “Lost Boys” vibe to Hugo’s pals including Alita-hater Tanji (Jorge Lendeborg Jr.); etc. etc. etc. It’s a huge great sprawling mess of a plot.
The movie is also highly derivative, and watching it feels like you are working through a mental set of check-boxes of the films it apes: Wall-E (check); Elysium (check); Terminator (check); Rollerball (if you’re old enough to remember that one) (check); even some Harry Potter quidditch thrown in for good measure.
Urm… berserk dialogue.
The story is based on a Manga work by Yukito Kishiro, but the script by James Cameron, director Robert Rodriquez and Laeta Kalogridis has some bat-shit crazy moments.
Remembering that Cameron in Avatar brought us the mineral ‘unobtainium’ there are similar ‘jolt yourself awake’ moments here. At one point Waltz starts talking about what sounds like “Panda c***s”…. I’m sorry… what?? (This was clearly an episode of David Attenborough’s “Life on Earth” that passed me by! Although frankly, if male pandas took a bit more interest in panda c***s, that wouldn’t necessarily be a bad thing. But I digress….)
The turns.
What stands out if the quality of the cast. Who wouldn’t kill to have Waltz, Connolly and Ali starring in their film? The inclusion of Maherashala Ali in here was a surprise to me. I know he has had a part in “The Hunger Games” series, but this is surely (Marvel must be kicking themselves) his most ‘mainstream’ film to date. And he again really shows his class, bringing a gravitas to all the scenes he’s in.
It was also interesting to see Ed Skrein in a movie for the second time in a month. He was the racist cop in “If Beale Street Could Talk“, and here he plays an equally unpleasant character with a sideline in vanity.
Also good fun is to see the cameo of who plays Nova in the final scene of the film. I was not expecting that.
But the film lives and dies on believing Alita, and after you get used to the rather spooky ‘uncanny valley’ eyes, Rosa Salazar really breathes life into the android character: you can really believe its a teenage android girl developing her understanding of the world and of love. (We’ll gloss over the age thing here which doesn’t make a lot of sense!). One thing’s for sure, when Alita gives her heart to a boy, she really gives her heart to a boy!
Will I like it?
I was not expecting to, but did. It’s a big, brash, loud CGI-stuffed adventure, but well done and visually appealing (as you would expect given the director is Robert Rodriguez of “Sin City” fame). The BBFC have given it a 12A rating in the UK, which feels appropriate: there are some pretty graphic scenes of violence (true they are “mostly involving robots fighting each other” as the BBFC says, but not all). That would make it not very suitable for younger children.
But I was entertained. You might well be too.
Connor Sheffield (293 KP) rated Vikings in TV
Feb 4, 2018
Somewhat historically accurate (2 more)
Visually Compelling
Gripping drama that keeps you wanting more
One of my favourite shows of all time
Vikings, for the first 3 seasons, tells the story of the rise to power of the legendary Ragnar Lothbrok, though the character himself in reality, despite being written about in sagas and poems from that era, remains a mystery to historians to this day.
In the show, Ragnar Lothbrok is portrayed by Travis Fimmel, who is fantastic in any role he has taken from what I have seen of his work. As Ragnar he excels at portraying many aspects of the character, from a loving father, to a fierce warrior. Though you still believe that he has nothing but the best intentions for his people, as well as himself. He is a somewhat difficult man to read as he may seem selfish at time, and yet his actions help the people around him, whilst other times, his actions may appear to be for the benefit of others, when really it is an act of selfishness. No matter what he does though, he does it well.
However, there is more to this show that just Ragnar Lothbrok. There is his wife, Lagertha, a famous shield maiden portrayed by Katheryn Winnick, who is able to achieve the same talent as Fimmel, by portraying the many sides to the character she plays. She is a loving mother, wife, though sometimes troubled, but at the end of the day, she is a badass. A strong female protagonist with a lot to gain and a lot to lose. Her story unfolds more from season 2 onwards and it is one that keeps you on edge, wanting to know what the future holds for Lagertha. Sadly, we have no seers to tell us what the gods have in store for her, we can only watch in suspense as the events unfold.
Then there are the Sons of Ragnar, who in later seasons, become the pinnacle of the show. The main focus, that will shape the future of what the show will become. All of them are incredible actors who portray their characters to the best they can be. My two favourites, are Bjorn Ironside, portrayed by Alender Ludwig, and Ivar The Boneless, portrayed by Alex Høgh Andersen. Both of these young actors excel in creating the best of their characters. Bjorn being the eldest of Ragnars sons, is the one you may become attached to most as he is there from the very beginning, portrayed at first by the young, Nathan O'Toole. In season 2 however, Bjorn is growing into a tall and strong young man, and this is where Ludwig excels. You believe that he is still young and blind from the world as it truly is, but enough so that you can believe that he is willing to learn more and like his father, wishes to know as much as he can about the world.
Ivar on the other hand, is brilliant for his own reason. Andersen's portrayal is fierce, creepy and brutal. He portrays a young man who is willing to overcome any obstacle including his own disability, to prove himself as a great warrior, and a force to be reckoned with. His constant anger is always on display as well, even when he is happy. You can see just from the expressions on his face, that he has so much going through his mind. So much cunning and so much emotion that he does not show. He is phenomanal in his role.
Though there are many other characters and actors to talk about such as Gustaf Skarsgard, who's brother, Bill, recently became notorious for his role as the new updated remake of Pennywise the Clown in IT (2017), as well as Clive Standen as Rollo, Ragnar's brother who is always dancing between loyalty and betrayal. Every cast member in this show is brilliant in what they have achieved with their characters and you will come to enjoy all of them.
The visuals of the show are stunning, with lots of blood and gore, comes a historically accurate representation of the lives and locations of the Vikings of that era. From visions, to battles, to drama. The visual effects keep you entranced and bring the story to life, which makes this show so incredible in my opinion. The best part, is that with each season and each episode, the story and visuals get better and better and leave you wanting more.
The show overall, is brilliant, and I have watched it many times over from the beginning, and it never gets boring. I love the historical accuracy mixed with fantasy elements and drama, which keep it interesting, but more importantly I how the show makes the audience feel. I have felt saddened, shocked and joyful throughout this show as it brilliantly allows each character to grow and flourish into the best they can be. It leaves you in suspense of what it is to come and when the show ends, I shall be very sad, but I have high hopes that they end the show with as much power as they put in each episode from the very beginning. I will continue to watch this show multiple times with each season as I wait for the next to be released. I am on my third run through of the show whilst waiting for part 2 of season 5. As I said before, it just keeps getting better.
In the show, Ragnar Lothbrok is portrayed by Travis Fimmel, who is fantastic in any role he has taken from what I have seen of his work. As Ragnar he excels at portraying many aspects of the character, from a loving father, to a fierce warrior. Though you still believe that he has nothing but the best intentions for his people, as well as himself. He is a somewhat difficult man to read as he may seem selfish at time, and yet his actions help the people around him, whilst other times, his actions may appear to be for the benefit of others, when really it is an act of selfishness. No matter what he does though, he does it well.
However, there is more to this show that just Ragnar Lothbrok. There is his wife, Lagertha, a famous shield maiden portrayed by Katheryn Winnick, who is able to achieve the same talent as Fimmel, by portraying the many sides to the character she plays. She is a loving mother, wife, though sometimes troubled, but at the end of the day, she is a badass. A strong female protagonist with a lot to gain and a lot to lose. Her story unfolds more from season 2 onwards and it is one that keeps you on edge, wanting to know what the future holds for Lagertha. Sadly, we have no seers to tell us what the gods have in store for her, we can only watch in suspense as the events unfold.
Then there are the Sons of Ragnar, who in later seasons, become the pinnacle of the show. The main focus, that will shape the future of what the show will become. All of them are incredible actors who portray their characters to the best they can be. My two favourites, are Bjorn Ironside, portrayed by Alender Ludwig, and Ivar The Boneless, portrayed by Alex Høgh Andersen. Both of these young actors excel in creating the best of their characters. Bjorn being the eldest of Ragnars sons, is the one you may become attached to most as he is there from the very beginning, portrayed at first by the young, Nathan O'Toole. In season 2 however, Bjorn is growing into a tall and strong young man, and this is where Ludwig excels. You believe that he is still young and blind from the world as it truly is, but enough so that you can believe that he is willing to learn more and like his father, wishes to know as much as he can about the world.
Ivar on the other hand, is brilliant for his own reason. Andersen's portrayal is fierce, creepy and brutal. He portrays a young man who is willing to overcome any obstacle including his own disability, to prove himself as a great warrior, and a force to be reckoned with. His constant anger is always on display as well, even when he is happy. You can see just from the expressions on his face, that he has so much going through his mind. So much cunning and so much emotion that he does not show. He is phenomanal in his role.
Though there are many other characters and actors to talk about such as Gustaf Skarsgard, who's brother, Bill, recently became notorious for his role as the new updated remake of Pennywise the Clown in IT (2017), as well as Clive Standen as Rollo, Ragnar's brother who is always dancing between loyalty and betrayal. Every cast member in this show is brilliant in what they have achieved with their characters and you will come to enjoy all of them.
The visuals of the show are stunning, with lots of blood and gore, comes a historically accurate representation of the lives and locations of the Vikings of that era. From visions, to battles, to drama. The visual effects keep you entranced and bring the story to life, which makes this show so incredible in my opinion. The best part, is that with each season and each episode, the story and visuals get better and better and leave you wanting more.
The show overall, is brilliant, and I have watched it many times over from the beginning, and it never gets boring. I love the historical accuracy mixed with fantasy elements and drama, which keep it interesting, but more importantly I how the show makes the audience feel. I have felt saddened, shocked and joyful throughout this show as it brilliantly allows each character to grow and flourish into the best they can be. It leaves you in suspense of what it is to come and when the show ends, I shall be very sad, but I have high hopes that they end the show with as much power as they put in each episode from the very beginning. I will continue to watch this show multiple times with each season as I wait for the next to be released. I am on my third run through of the show whilst waiting for part 2 of season 5. As I said before, it just keeps getting better.
Emma @ The Movies (1786 KP) rated Pride and Prejudice and Zombies (2016) in Movies
Sep 25, 2019
A film for all those women who dream of chivalry, but want to kick some ass.
Contains spoilers, click to show
"It is a truth universally acknowledged that a zombie in possession of brains must be in want of more brains."
A mysterious plague has fallen across England. The countryside is a relative haven, where the city has become a playground for unmentionables. The oriental arts have become the fashion and a desirable young lady no longer needs to be the prim and proper wife, unless your name is Mr Collins.
The Bennet's lovely daughters, beautiful and strong of body and mind are accustomed to a regimented life of training, until the handsome stranger Mr Bingley comes to the country. A whirlwind of romance and the undead lead them into a battle for family and love.
Heaving bosoms, country estates. Brain eating corpses and assorted weaponry. Everything you'd expect when the undead meets Jane Austen. As if on cue my playlist has shuffled to Zombie by The Cranberries. I can't deny enjoying this film, I should point out that I was always going to enjoy it, be it Oscar or Razzie worthy. It definitely had the potential to be an epic re-watchable classic or the B-movie winner that shone from the book.
When it was first published I picked it up almost instantly and soon found Quirk Books and other crossover books developing a little shrine-like area. [Now given pride of place in my nerd room.] Having a dislike of classics embedded in me from school and enjoying the general kick-assery of action films, it was a great crossover to bring those classics back into my life.
Admission time, while I've read the book I can't actually remember when, it was dozens of books ago. I loved it but not everyone did. I'm going to make a big sweeping statement. [Sorry, not sorry] It's not a Jane Austen book people, get over it. "He's ruined Elizabeth Bennet!" No he's taken a strong minded female character and put her in a new fantasy setting. I'm sure there would have been less objections if all the names were different (and the title too) and it was just described as "loosely based on Jane Austen's Pride and Prejudice". But swings and roundabouts, because it probably wouldn't have been as popular if it wasn't called Pride and Prejudice and Zombies.
Sam Riley's Mr Darcy was no Colin Firth, but it was still very good. It did kind of seem like they threw him in a lake because they felt they should pay homage to Firth's dunking.
Note to those who see the film, Liz Bennet's heaving bosom is seen on a regular basis and is entirely distracting. I'm not sure there's a plot line linked to them, they're just always there, they probably should have got their own credit for the part.
I think my favourite scene was where Darcy came to Elizabeth to proclaim his love... and then they proceed to beat each other with sticks, books, basically whatever is to hand. Heated and packed with sexual tension it made for entertaining viewing. It also reminded me of the scene in Buffy where the slayer and Spike fight in an abandoned building, and the amount of sexual tension between the pair results in breaking the building, amongst other things... but those other things probably wouldn't work so well in Austen's time.
Even with all the bits that brought a smile to my face and made for enjoyable watching, there were some things I couldn't help but be annoyed with.
Firstly, Matt Smith, my dear number 11... [insert long silence here] I know Mr Collins is there for the annoying comic relief and awkwardness but oh my god. It was too much and I was overcome with annoyance. The cast is made up of relatively unknown people, with the exceptions of Charles Dance, Sally Phillips and Matt Smith. I can't help but wonder if Mr Collins would have been easier to deal with if he was an unknown actor.
The camera work had its own peculiarities. Some shots were taken from the zombies point of view. They were blurred and frustrating to watch, I can't really tell what it added. I'm sure it would have added a bit more drama if you'd seen the potential victim being run at. Again, I'm not an expert in showbiz filming but I'm fairly certain that making your audience want to throw up is not the idea. Right near the end there is a shot that perfectly portrays the devastation of the situation...
"How should we get across the devastation of the city and cut out to the next scene?"
"Spin the camera round until people want to vomit?"
"GENIUS!"
I sat there feeling a bit woozy, trying to avoid looking at the screen for the whole thing. I'm not sure either of the fancy styles really improved anything.
My only other wonder about the film is whether it should have gone all out spoof. This was a sensible spoof [relatively speaking], in that it wasn't made specifically for laughs. It did have some, but there were also some moments of emotion too. Should they have played the film out for more comedy? Who knows, but I feel the scene where Darcy and Elizabeth are stabbing a field to kill zombies that are buried underneath was completely wasted in a sensible spoof!
All in all I did enjoy it, but for those of you looking to see it at the cinema I'm not sure it's worth a £10 ticket. Well worth it if you have an offer of some description though. Just remember going in to it that it isn't Jane Austen, it's just your run of the mill zombie period drama... wow, never thought I'd say that sentence.
A mysterious plague has fallen across England. The countryside is a relative haven, where the city has become a playground for unmentionables. The oriental arts have become the fashion and a desirable young lady no longer needs to be the prim and proper wife, unless your name is Mr Collins.
The Bennet's lovely daughters, beautiful and strong of body and mind are accustomed to a regimented life of training, until the handsome stranger Mr Bingley comes to the country. A whirlwind of romance and the undead lead them into a battle for family and love.
Heaving bosoms, country estates. Brain eating corpses and assorted weaponry. Everything you'd expect when the undead meets Jane Austen. As if on cue my playlist has shuffled to Zombie by The Cranberries. I can't deny enjoying this film, I should point out that I was always going to enjoy it, be it Oscar or Razzie worthy. It definitely had the potential to be an epic re-watchable classic or the B-movie winner that shone from the book.
When it was first published I picked it up almost instantly and soon found Quirk Books and other crossover books developing a little shrine-like area. [Now given pride of place in my nerd room.] Having a dislike of classics embedded in me from school and enjoying the general kick-assery of action films, it was a great crossover to bring those classics back into my life.
Admission time, while I've read the book I can't actually remember when, it was dozens of books ago. I loved it but not everyone did. I'm going to make a big sweeping statement. [Sorry, not sorry] It's not a Jane Austen book people, get over it. "He's ruined Elizabeth Bennet!" No he's taken a strong minded female character and put her in a new fantasy setting. I'm sure there would have been less objections if all the names were different (and the title too) and it was just described as "loosely based on Jane Austen's Pride and Prejudice". But swings and roundabouts, because it probably wouldn't have been as popular if it wasn't called Pride and Prejudice and Zombies.
Sam Riley's Mr Darcy was no Colin Firth, but it was still very good. It did kind of seem like they threw him in a lake because they felt they should pay homage to Firth's dunking.
Note to those who see the film, Liz Bennet's heaving bosom is seen on a regular basis and is entirely distracting. I'm not sure there's a plot line linked to them, they're just always there, they probably should have got their own credit for the part.
I think my favourite scene was where Darcy came to Elizabeth to proclaim his love... and then they proceed to beat each other with sticks, books, basically whatever is to hand. Heated and packed with sexual tension it made for entertaining viewing. It also reminded me of the scene in Buffy where the slayer and Spike fight in an abandoned building, and the amount of sexual tension between the pair results in breaking the building, amongst other things... but those other things probably wouldn't work so well in Austen's time.
Even with all the bits that brought a smile to my face and made for enjoyable watching, there were some things I couldn't help but be annoyed with.
Firstly, Matt Smith, my dear number 11... [insert long silence here] I know Mr Collins is there for the annoying comic relief and awkwardness but oh my god. It was too much and I was overcome with annoyance. The cast is made up of relatively unknown people, with the exceptions of Charles Dance, Sally Phillips and Matt Smith. I can't help but wonder if Mr Collins would have been easier to deal with if he was an unknown actor.
The camera work had its own peculiarities. Some shots were taken from the zombies point of view. They were blurred and frustrating to watch, I can't really tell what it added. I'm sure it would have added a bit more drama if you'd seen the potential victim being run at. Again, I'm not an expert in showbiz filming but I'm fairly certain that making your audience want to throw up is not the idea. Right near the end there is a shot that perfectly portrays the devastation of the situation...
"How should we get across the devastation of the city and cut out to the next scene?"
"Spin the camera round until people want to vomit?"
"GENIUS!"
I sat there feeling a bit woozy, trying to avoid looking at the screen for the whole thing. I'm not sure either of the fancy styles really improved anything.
My only other wonder about the film is whether it should have gone all out spoof. This was a sensible spoof [relatively speaking], in that it wasn't made specifically for laughs. It did have some, but there were also some moments of emotion too. Should they have played the film out for more comedy? Who knows, but I feel the scene where Darcy and Elizabeth are stabbing a field to kill zombies that are buried underneath was completely wasted in a sensible spoof!
All in all I did enjoy it, but for those of you looking to see it at the cinema I'm not sure it's worth a £10 ticket. Well worth it if you have an offer of some description though. Just remember going in to it that it isn't Jane Austen, it's just your run of the mill zombie period drama... wow, never thought I'd say that sentence.