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BankofMarquis (1832 KP) rated Creed II (2018) in Movies
Dec 7, 2018
Good Enough
By my count, this is the 8th time that Sylvester Stallone has put on the character of Rocky Balboa. This time it comes after the resurgence of this character (and franchise) with the introduction of Adonis Creed (Michael B. Jordan) and a script that allowed Stallone to explore the character in a way that he had not previously been able to - and garnered him a well-deserved Oscar nomination for his efforts.
In CREED II we are back to an above average by-the-numbers boxing picture with Jordan's Adonis Creed character starting the picture on top, losing it all when he loses himself (and stops listening to Rocky) in his success only to go on a journey of redemption (by following Rocky's advice) at the end. This is, in essence, a regurgitation of ROCKY III and I was somewhat bored by it.
That is, until the final bout, then (gosh darnnit) I was drawn right into the melodrama, pomp and pageantry of the fight and was cheering along with the rest of the audience at all the appropriate moments.
In Creed II, Apollo Creed's son battles Ivan Drago's son. For those of you not up on your Rocky history, Drago (Dolph Lundgren, reprising his role) was the boxer that killed Apollo Creed (Adonis' father) in the ring all those years ago.
Jordan is properly cocky, arrogant, stubborn, shell-shocked, morose, repentant and cocky (again) as the script would indicate. Tessa Thompson (as his wife) deserves better material than what she is given as does Stallone, who falls back to "being Rocky" without anything really new here. Surprisingly, Dolph Lundgren does a nice job as the washed-up boxer who's life was "ruined" when he lost to Rocky at the end of Rocky IV (not a spoiler). Finally, Russel Horsnby (as the "I just want to earn money" promoter of the fight) and Phylicia Rashad (as Adonis' mother/Apollo's wife) are both really good in roles that deserved to be much bigger - and more fleshed out - than they were.
My biggest disappointment from this film is the ommision of Director Ryan Coogler. He brought a visceral attitude to the series in the first CREED film and I felt that this spark of energy was just missing throughout this film with Steven Caple, Jr at the helm. It seemed, to me, that this series is quickly devolving into "paycheck" movies for Stallone and that really saddens me.
All-in-all a rather above average "by-the-numbers" boxing flick with a really good fight at the end of the film that is well worth sticking around for.
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)
In CREED II we are back to an above average by-the-numbers boxing picture with Jordan's Adonis Creed character starting the picture on top, losing it all when he loses himself (and stops listening to Rocky) in his success only to go on a journey of redemption (by following Rocky's advice) at the end. This is, in essence, a regurgitation of ROCKY III and I was somewhat bored by it.
That is, until the final bout, then (gosh darnnit) I was drawn right into the melodrama, pomp and pageantry of the fight and was cheering along with the rest of the audience at all the appropriate moments.
In Creed II, Apollo Creed's son battles Ivan Drago's son. For those of you not up on your Rocky history, Drago (Dolph Lundgren, reprising his role) was the boxer that killed Apollo Creed (Adonis' father) in the ring all those years ago.
Jordan is properly cocky, arrogant, stubborn, shell-shocked, morose, repentant and cocky (again) as the script would indicate. Tessa Thompson (as his wife) deserves better material than what she is given as does Stallone, who falls back to "being Rocky" without anything really new here. Surprisingly, Dolph Lundgren does a nice job as the washed-up boxer who's life was "ruined" when he lost to Rocky at the end of Rocky IV (not a spoiler). Finally, Russel Horsnby (as the "I just want to earn money" promoter of the fight) and Phylicia Rashad (as Adonis' mother/Apollo's wife) are both really good in roles that deserved to be much bigger - and more fleshed out - than they were.
My biggest disappointment from this film is the ommision of Director Ryan Coogler. He brought a visceral attitude to the series in the first CREED film and I felt that this spark of energy was just missing throughout this film with Steven Caple, Jr at the helm. It seemed, to me, that this series is quickly devolving into "paycheck" movies for Stallone and that really saddens me.
All-in-all a rather above average "by-the-numbers" boxing flick with a really good fight at the end of the film that is well worth sticking around for.
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Shaft (2019) in Movies
Jun 18, 2019
Bland, boring and uninteresting
Were you the one clamoring for a sequel to the year 2000 Samuel L. Jackson SHAFT (the sequel to the original 1971 Richard Roundtree SHAFT)? Did you remember there WAS a 2000 version of SHAFT? Do you remember the 1971 SHAFT?
Doesn't matter.
The makers of this film certainly don't remember those films for - besides casting Jackson and Roundtree - there is no similarity to either of these films.
The first SHAFT was a Blacksploitation film starring Roundtree with mucho gunfire and bloodshed and SHAFT 2000 (as I'll call it) is a full on action flick with Jackson as Roundtree's nephew fighting crime. SHAFT 2019 is none of these - the Samuel L. Jackson Shaft is now the SON of Richard Roundtree and partners with his son JJ ,John Shaft, Jr. (played by Jessie T. Usher) to investigate the death of his friend.
Okay...fine. I can forgive the change in tone and the "tweak" (I'm being generous) to the timeline. What I can't forgive is the weak script (why write any good, or interesting, dialogue when we can have all of the characters say Samuel L. Jackson's signature motherf*^#er over and over) by 3 different writers (never a good sign) that were all, clearly, just in it for the paycheck.
Jessie T. Usher (he played Will Smith's son in the also ill-advised sequel to INDEPENDENCE DAY) is a bland lead with no gravitas and no swagger that starts out young and naive and is supposed to develop (under the tutelage of his father) street smarts but, really, just becomes annoying.
Regina Hall (GIRLS TRIP), Titus Welliver (BOSCH), Method Man (!) and Luna Lauren Velez (DEXTER) are all sleepwalking through underwritten roles just counting the minutes until they can take their paychecks to the bank.
At the heart of all of this "missed opportunities" is Director Tim Story (RIDE ALONG) he directs this film like he has someplace else to be, never missing an opportunity to be obvious (for example, JJ's friend - Karim - who's death sparks what passes for a plot in this film - might as well be walking around with a "Dead Man Walking" sign on him). Story's direction is lazy (and that's doing injustice to the word lazy) and obvious with no spark of ingenuity or imagination to be found.
And then there's Samuel L. Jackson as SHAFT. He defines the term "sleepwalking through the picture" looking bored and uninterested throughout and HE'S THE BEST THING IN THE FILM! Thank goodness his charisma and charm ooze out of him without really trying - for he didn't really try here.
Save 2 hours of your life - skip SHAFT - you'll be glad you did.
Letter Grade: C
4 Stars (out of 10) and you can take this to the Bank(ofMarquis)
Doesn't matter.
The makers of this film certainly don't remember those films for - besides casting Jackson and Roundtree - there is no similarity to either of these films.
The first SHAFT was a Blacksploitation film starring Roundtree with mucho gunfire and bloodshed and SHAFT 2000 (as I'll call it) is a full on action flick with Jackson as Roundtree's nephew fighting crime. SHAFT 2019 is none of these - the Samuel L. Jackson Shaft is now the SON of Richard Roundtree and partners with his son JJ ,John Shaft, Jr. (played by Jessie T. Usher) to investigate the death of his friend.
Okay...fine. I can forgive the change in tone and the "tweak" (I'm being generous) to the timeline. What I can't forgive is the weak script (why write any good, or interesting, dialogue when we can have all of the characters say Samuel L. Jackson's signature motherf*^#er over and over) by 3 different writers (never a good sign) that were all, clearly, just in it for the paycheck.
Jessie T. Usher (he played Will Smith's son in the also ill-advised sequel to INDEPENDENCE DAY) is a bland lead with no gravitas and no swagger that starts out young and naive and is supposed to develop (under the tutelage of his father) street smarts but, really, just becomes annoying.
Regina Hall (GIRLS TRIP), Titus Welliver (BOSCH), Method Man (!) and Luna Lauren Velez (DEXTER) are all sleepwalking through underwritten roles just counting the minutes until they can take their paychecks to the bank.
At the heart of all of this "missed opportunities" is Director Tim Story (RIDE ALONG) he directs this film like he has someplace else to be, never missing an opportunity to be obvious (for example, JJ's friend - Karim - who's death sparks what passes for a plot in this film - might as well be walking around with a "Dead Man Walking" sign on him). Story's direction is lazy (and that's doing injustice to the word lazy) and obvious with no spark of ingenuity or imagination to be found.
And then there's Samuel L. Jackson as SHAFT. He defines the term "sleepwalking through the picture" looking bored and uninterested throughout and HE'S THE BEST THING IN THE FILM! Thank goodness his charisma and charm ooze out of him without really trying - for he didn't really try here.
Save 2 hours of your life - skip SHAFT - you'll be glad you did.
Letter Grade: C
4 Stars (out of 10) and you can take this to the Bank(ofMarquis)
JT (287 KP) rated Let Me In (2010) in Movies
Mar 10, 2020
t’s a hard thing remaking or rebooting a classic, whatever you want to call it, you have to make sure of one thing…don’t balls it up! Thankfully director Matt Reeves doesn’t do that, in fact he takes a brilliant original and puts his own spin on it.
The story of course is very much the same, Owen (Kodi Smit-McPhee) is a shy and slightly reclusive young boy who is struggling to come to terms with his parents impending divorce. On top of that he is viciously bullied at school and has no one to turn to but the imaginations of his own doing and personality.
When he befriends Abby (Chloë Grace Moretz) who is equally as shy as him a friendship blossoms between them against the backdrop of a cold and at times sinister winter. Abby is not quite what she seems deep down, that much is clear from the outset as her father (Richard Jenkins) goes out on nightly rampages to forage for the one thing that will keep her alive, blood.
Reeves does well to take the story in some new subtle directions such as the revelation that her so called father might well have started out as a mere boy himself and is purely by Abby’s side through need rather than wanting.
It doesn’t overshadow what is a true story of friendship and standing up in the face of adversity
There are some scenes however that stay true to Let the Right One In which of course would be lost if not included, but also the addition of new ones that are very much welcomed.
The acting is exceptional from the young leading man and woman. Smit-McPhee whose run out in the apocalyptic journey The Road only showcased his acting stature, and Moretz proves that she has a great future, if not already, having made her mark.
Reeves keeps this film focused on the young pairing with Owen’s mother being reduced to a mere blur even when she stands only a few feet away, his Dad just a voice on the end of the phone. Unlike the original Let Me In is very much a horror flick for the blood thirsty millennial generation, and the gore is well used and timed to perfection. It doesn’t overshadow what is a true story of friendship and standing up in the face of adversity.
There is no reason to compare this film with the original, despite the story and protagonists all being the same Reeves conducts his approach with originality that makes this equally brilliant.
We should all applaud Reeves for doing something that is incredibly hard in a fast changing industry that craves money from remaking or rebooting films to satisfy a new generation of film goers. He’s made a remake that was actually good!
The story of course is very much the same, Owen (Kodi Smit-McPhee) is a shy and slightly reclusive young boy who is struggling to come to terms with his parents impending divorce. On top of that he is viciously bullied at school and has no one to turn to but the imaginations of his own doing and personality.
When he befriends Abby (Chloë Grace Moretz) who is equally as shy as him a friendship blossoms between them against the backdrop of a cold and at times sinister winter. Abby is not quite what she seems deep down, that much is clear from the outset as her father (Richard Jenkins) goes out on nightly rampages to forage for the one thing that will keep her alive, blood.
Reeves does well to take the story in some new subtle directions such as the revelation that her so called father might well have started out as a mere boy himself and is purely by Abby’s side through need rather than wanting.
It doesn’t overshadow what is a true story of friendship and standing up in the face of adversity
There are some scenes however that stay true to Let the Right One In which of course would be lost if not included, but also the addition of new ones that are very much welcomed.
The acting is exceptional from the young leading man and woman. Smit-McPhee whose run out in the apocalyptic journey The Road only showcased his acting stature, and Moretz proves that she has a great future, if not already, having made her mark.
Reeves keeps this film focused on the young pairing with Owen’s mother being reduced to a mere blur even when she stands only a few feet away, his Dad just a voice on the end of the phone. Unlike the original Let Me In is very much a horror flick for the blood thirsty millennial generation, and the gore is well used and timed to perfection. It doesn’t overshadow what is a true story of friendship and standing up in the face of adversity.
There is no reason to compare this film with the original, despite the story and protagonists all being the same Reeves conducts his approach with originality that makes this equally brilliant.
We should all applaud Reeves for doing something that is incredibly hard in a fast changing industry that craves money from remaking or rebooting films to satisfy a new generation of film goers. He’s made a remake that was actually good!
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Charlie Cobra Reviews (1840 KP) rated Godzilla: King of the Monsters (2019) in Movies
Jul 7, 2020
Hail To The King Baby
Godzilla: King of The Monsters is a 2019 monster movie directed by Michael Dougherty and written by Dougherty, Zach Shields, and Max Borenstein. It was produced by Legendary Pictures and distributed by Warner Bros. Pictures. The film was dedicated to the original Godzilla suit performer Haruo Nakajima and executive producer Yoshimitsu Banno. The movie stars Kyle Chandler, Vera Farmiga, Millie Bobby Brown, Ken Watanabe and Zhang Ziyi.
Working to track down and study Titans (giant-God like monsters) for the organization Monarch, Paleobiologist Emma Russell (Vera Farmiga) and her daughter Madison (Millie Bobby Brown) witness the birth of a giant larva monster named Mothra. The monster is hostile until Emma uses a device called "Orca", which only Titans can hear, to calm it down until eco-terrorists attack, led by Alan Jonah (Charles Dance) and kidnap both her and her daughter. Monarch scientists and soldiers approach Mark (Kyle Chandler), Emma's ex-husband, to track them down and soon they are headed towards Antarctica, where Jonah intends to free a Titan encased in ice called "Monster Zero".
This movie had classic Godzilla flick written all over it and it did not disappoint. The visual effects were awesome, from the way the monsters looked, to the blasts they utilized and even things like explosions were all top notch. The music was also outstanding, as many classic Godzilla themes made a comeback including Mothra's theme. The action sequences far exceeded those of it's predecessor Godzilla 2014, There was plenty of monster battles to make this a fan favorite for years to come. Now I do have to agree with some of the critics and say that the storyline was a little thin and predictable but that didn't stop the film from being enjoyable. And some critics complained about underdeveloped human characters, but in all honesty, the human characters are not why the fans are going to see this movie. I thought the main cast of characters had enough development, it's just that compared to a normal Godzilla film or even the last one, there were a lot of secondary characters or supporting cast. Which to me personally, made the film feel more full. This movie checked a lot of my boxes for what I've come to expect in a Godzilla/giant monster movie and made me happy when I watched it in theaters. It had its down time in certain parts and slow building scenes or moments where it seemed the audience in consensus chose to use that time to run to the restroom and back. But other than that and some predictable plot points and character actions this movie was great.
Working to track down and study Titans (giant-God like monsters) for the organization Monarch, Paleobiologist Emma Russell (Vera Farmiga) and her daughter Madison (Millie Bobby Brown) witness the birth of a giant larva monster named Mothra. The monster is hostile until Emma uses a device called "Orca", which only Titans can hear, to calm it down until eco-terrorists attack, led by Alan Jonah (Charles Dance) and kidnap both her and her daughter. Monarch scientists and soldiers approach Mark (Kyle Chandler), Emma's ex-husband, to track them down and soon they are headed towards Antarctica, where Jonah intends to free a Titan encased in ice called "Monster Zero".
This movie had classic Godzilla flick written all over it and it did not disappoint. The visual effects were awesome, from the way the monsters looked, to the blasts they utilized and even things like explosions were all top notch. The music was also outstanding, as many classic Godzilla themes made a comeback including Mothra's theme. The action sequences far exceeded those of it's predecessor Godzilla 2014, There was plenty of monster battles to make this a fan favorite for years to come. Now I do have to agree with some of the critics and say that the storyline was a little thin and predictable but that didn't stop the film from being enjoyable. And some critics complained about underdeveloped human characters, but in all honesty, the human characters are not why the fans are going to see this movie. I thought the main cast of characters had enough development, it's just that compared to a normal Godzilla film or even the last one, there were a lot of secondary characters or supporting cast. Which to me personally, made the film feel more full. This movie checked a lot of my boxes for what I've come to expect in a Godzilla/giant monster movie and made me happy when I watched it in theaters. It had its down time in certain parts and slow building scenes or moments where it seemed the audience in consensus chose to use that time to run to the restroom and back. But other than that and some predictable plot points and character actions this movie was great.
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