Search
Search results
Bob Mann (459 KP) rated They Shall Not Grow Old (2018) in Movies
Sep 28, 2021
We DO remember them.
“Trapped in a Charlie Chaplin World”. So says director Peter Jackson in a post-screening discussion with Mark Kermode, describing early black and white documentary footage. Whereas modern film runs at 24 fps, most of the old footage is hand cranked, with speeds as low as 12 fps which leads to its jerky nature. Jackson in this project with the Imperial War Museum took their WW1 footage and put it through a ‘pipeline process. This cleaned-up and restored the original footage; used clever computer interpolation to add in the missing 6 to 12 frames per second; and then colourised it.
The results are outstanding. Jackson wisely focuses the film on the specific slice of WW1 action from the trenches. And those anonymous figures become real, live, breathing humans on screen. It is obviously tragic that some (and as commented by Jackson, many in one scene) are not to be breathing humans for much longer.
These effects take a while to kick in. The early scenes in the documentary are in the original black and white, describing the recruitment process, and how many of the recruits were under-age. (To explain the varied comments in the film, they should have been 18, although officially shouldn’t have been sent overseas until 19).
It is when the troops arrive in France that we suddenly go from black-and-white to the fully restored and colourised footage, and it is a gasp-inducing moment.
Audio magic
All of the audio commentary is from original BBC recordings of war veterans recounting their actual experiences in the trench. Some sound like heroes; some sound like rogues; all came out changed men. Supporting music of WW1 ditties, including the incredibly rude “Mademoiselle from Armentières” over the end credits, is provided by Plan 9.
But equally impressive is the dubbing of the characters onscreen. Jackson employed forensic lip-readers to determine what the soldiers on-screen were saying, and reproduced the speech using appropriate regional accents for the regiments concerned. Jackson also recounts how the words associated with a “pep-talk” speech to troops by an officer he found on an original slip of paper within the regimental records: outstanding. Added sound effects include real-life shelling by the New Zealand army. It all adds to the overall atmosphere of the film.
3D = less
The film itself is a masterpiece of technical innovation that will change in the future the way in which we should be able to see this sort of early film footage forever. As a documentary it’s near-perfection. But if I have a criticism of the cinema showing I attended it is that the 3D tended to detract rather than add to the film. Perhaps this is just my eyesight, but 3D always tends to make images slightly more blurry. Where (like “Gravity”) there are great 3D effects to showcase, it’s worth the slight negative to get the massive positive. But here, there was no such benefit: 2D would have been better. For those in the UK (and possibly through other broadcasters worldwide) the film is being shown on BBC2 tonight (11/11/18) at 9:30: I will be watching it again to compare and contrast.
Final Thoughts
Jackson dedicated the film to his grandfather. And almost all of us Brits will have relatives affected by this “war to end all wars”. In my case, my grandfather was shot and severely wounded at Leuze Wood on the Somme, lying in the mud for four days and four nights before being recovered… by the Germans! Fortunately he was well-treated and, although dying young, recovered enough to father my father – else I wouldn’t be here today writing this. On this Rememberance Sunday, 100 years on, it is a time for us to truly remember the sacrifice these men and boys gave to what, all in the film agree, was a pretty obstinate and pointless conflict.
I’ll finish the review by reproducing one of the war poems of my wife’s Uncle Ivor (available in a collection here), written on 11/11/18 a hundred years ago:
Peace
At last O Lord the Day has come,
And hushed is now the noise of guns.
Peace is proclaimed over land and sea,
Our heartfelt thanks we give to Thee.
I thank thee Father for Thy care,
That thou hasn’t answered all my prayers.
This day I see in manhood’s strength,
The Peace we longed for, come at length.
O may my future actions be,
Worthy of all Thy care to me.
Let me forget not Thy Great Love,
Remembering chums who live Above.
I.G.H. 11/11/1918, France.
The results are outstanding. Jackson wisely focuses the film on the specific slice of WW1 action from the trenches. And those anonymous figures become real, live, breathing humans on screen. It is obviously tragic that some (and as commented by Jackson, many in one scene) are not to be breathing humans for much longer.
These effects take a while to kick in. The early scenes in the documentary are in the original black and white, describing the recruitment process, and how many of the recruits were under-age. (To explain the varied comments in the film, they should have been 18, although officially shouldn’t have been sent overseas until 19).
It is when the troops arrive in France that we suddenly go from black-and-white to the fully restored and colourised footage, and it is a gasp-inducing moment.
Audio magic
All of the audio commentary is from original BBC recordings of war veterans recounting their actual experiences in the trench. Some sound like heroes; some sound like rogues; all came out changed men. Supporting music of WW1 ditties, including the incredibly rude “Mademoiselle from Armentières” over the end credits, is provided by Plan 9.
But equally impressive is the dubbing of the characters onscreen. Jackson employed forensic lip-readers to determine what the soldiers on-screen were saying, and reproduced the speech using appropriate regional accents for the regiments concerned. Jackson also recounts how the words associated with a “pep-talk” speech to troops by an officer he found on an original slip of paper within the regimental records: outstanding. Added sound effects include real-life shelling by the New Zealand army. It all adds to the overall atmosphere of the film.
3D = less
The film itself is a masterpiece of technical innovation that will change in the future the way in which we should be able to see this sort of early film footage forever. As a documentary it’s near-perfection. But if I have a criticism of the cinema showing I attended it is that the 3D tended to detract rather than add to the film. Perhaps this is just my eyesight, but 3D always tends to make images slightly more blurry. Where (like “Gravity”) there are great 3D effects to showcase, it’s worth the slight negative to get the massive positive. But here, there was no such benefit: 2D would have been better. For those in the UK (and possibly through other broadcasters worldwide) the film is being shown on BBC2 tonight (11/11/18) at 9:30: I will be watching it again to compare and contrast.
Final Thoughts
Jackson dedicated the film to his grandfather. And almost all of us Brits will have relatives affected by this “war to end all wars”. In my case, my grandfather was shot and severely wounded at Leuze Wood on the Somme, lying in the mud for four days and four nights before being recovered… by the Germans! Fortunately he was well-treated and, although dying young, recovered enough to father my father – else I wouldn’t be here today writing this. On this Rememberance Sunday, 100 years on, it is a time for us to truly remember the sacrifice these men and boys gave to what, all in the film agree, was a pretty obstinate and pointless conflict.
I’ll finish the review by reproducing one of the war poems of my wife’s Uncle Ivor (available in a collection here), written on 11/11/18 a hundred years ago:
Peace
At last O Lord the Day has come,
And hushed is now the noise of guns.
Peace is proclaimed over land and sea,
Our heartfelt thanks we give to Thee.
I thank thee Father for Thy care,
That thou hasn’t answered all my prayers.
This day I see in manhood’s strength,
The Peace we longed for, come at length.
O may my future actions be,
Worthy of all Thy care to me.
Let me forget not Thy Great Love,
Remembering chums who live Above.
I.G.H. 11/11/1918, France.
Bob Mann (459 KP) rated Gemini Man (2019) in Movies
Nov 10, 2019
Will Smith plays top US hit-man Henry Brogan who is making the world "safer" one bullet at a time! With the mirror telling him his age, Henry hands in his firearm (not withstanding the arsenal under his stairs) to spend more time going fishing and doing the crossword.
But all is not well when Henry's 'one for the road' hit turns out to not be quite what it seems.
Teaming up with marina manager Danny (Danny??) Zakarweski (Mary Elizabeth Winstead), the pair go on the run from operatives of a government-funded black-ops organization called Gemini. Gemini is a private semi-military organization (didn't we just go here with "Angel Has Fallen"?!). These 'baddie goodies' would rather see Henry - and all who know him - fed to the fishes rather than have him catching them.
But one of these guys, under the direct command of Gemini-boss Clay Verris (Clive Owen), looks kinda familiar...
Let's focus on the positives for a minute. This is a spy movie that has all of the polish that the recent "Angel has Fallen" didn't have. Some nice photogenic locations fly in and out again (Georgia, Budapest and Colombia: the latter for no obvious reason I can remember!). It occasionally reminded me of a glossy Bond film, but without Bond.
There are also some high-class special effects (the special effects coordinator is Mark Hawker). A moonlit CGI Gulfstream with a zoom into the cockpit is particularly impressive.
Some of the action set pieces also entertain. A Will-on-Will bike chase is well done, and I've not seen a bike used as a hand-to-hand weapon in this way before!
And Will Smith is no doubt a class act, with his 'youngification' (I'm not sure what the official word is) also being effectively done. I also enjoyed Mary Elizabeth Winstead, who was great in "10 Cloverfield Lane". The lady has real screen presence.
But man oh man, that script. Let's name the guilty parties in this film: the scriptwriters David Benioff (Game of Thrones), Darren Lemke and Billy Ray. (I'll put Ray last in the list, since the story was by Benioff and Lemke and this has the smell to me of Ray - who has a history of some great scripts like Captain Phillips under his name - being drafted in to steady a listing ship).
Some of the dialogue in this film is not just a bit dodgy. It's head in the hands groan-worthy (and I actually did at times: fortunately the cinema was barely half full and I was on my own in the whole row). And some of it is just plain offensive. Henry meets his old pal Jack Willis (Douglas Hodge) on his yacht where he explains his wife is on a trip to Paris as a scantily clad dolly-bird wanders past. Henry comically rolls his eyes at this adulterous behaviour, with some sort of "Jack, what are you loike!" comment. Cringe-worthy.
Will Smith, Mary Elizabeth Winstead and Benedict Wong (their ally, adding some comic relief) are clearly good actors. But the script often makes them look utterly vacuous and stupid. And Lee seems to have a "good enough, move on" approach to the filming. One jaw-dropping moment has Will Smith telling the others that they are going to Budapest. "Budapest?" Winstead and Wong are supposed to say in union, but mistime it. "Can we do that again?". Nope. It's on the screen.
As for Clive Owen... sorry, he's really not in the same acting league, and the script does him even fewer favours. As he says at one point "It's like the Hindenburg crashing into the Titanic". I couldn't have put it better myself.
"Uncanny Valley". You know this phrase. The Princess Leia and Moff Tarkin scenes in "Rogue One" is the classic example. Effects that don't quite work on the big screen. "But" - you say to yourself - "Dr Bob just said that the 'youngification' of Will Smith was done really well?". And I'll repeat again that it was. It's on a par with Samuel L. Jackson's 'youngification' in "Captain Marvel". Where something strange happens is in the film's overall projection. Ang Lee has tried again with his experiment of filming at a massive 120 frames per second..... five times the normal movie frame rate of 24 fps. And the quality of the picture - particularly during high-speed action scenes - becomes outstandingly good! But equally it just doesn't 'look right'.
When the human eye presumably works at an equivalent "fps" of thousands of 'frames per second' you'd think that it should all be fine. But for some reason I just found it distracting. Presumably the audiences for "The Jazz Singer" thought the same about sound; and those for "Gone with the Wind" and the "Wizard of Oz" about colour. Maybe we've seen the future, and its the new norm that we just need to get used to. We'll see.
Ang Lee's "Life of Pi" was extraordinary. His "Hulk" was one of the poorest of the Marvel canon. Unfortunately, this movie is at the "Hulk" end of the spectrum. Which is a real shame. The duo of the 51 year old Smith and the 35 year old Winstead work really well together. They have great chemistry, but, you'll be relieved to hear, avoid any icky love interest.
What a shame. With a different script, and some good production values, this could have been a very different story.
(For the full graphical review, please check out https://bob-the-movie-man.com/2019/10/18/one-manns-movies-film-review-gemini-man-2019/ )
But all is not well when Henry's 'one for the road' hit turns out to not be quite what it seems.
Teaming up with marina manager Danny (Danny??) Zakarweski (Mary Elizabeth Winstead), the pair go on the run from operatives of a government-funded black-ops organization called Gemini. Gemini is a private semi-military organization (didn't we just go here with "Angel Has Fallen"?!). These 'baddie goodies' would rather see Henry - and all who know him - fed to the fishes rather than have him catching them.
But one of these guys, under the direct command of Gemini-boss Clay Verris (Clive Owen), looks kinda familiar...
Let's focus on the positives for a minute. This is a spy movie that has all of the polish that the recent "Angel has Fallen" didn't have. Some nice photogenic locations fly in and out again (Georgia, Budapest and Colombia: the latter for no obvious reason I can remember!). It occasionally reminded me of a glossy Bond film, but without Bond.
There are also some high-class special effects (the special effects coordinator is Mark Hawker). A moonlit CGI Gulfstream with a zoom into the cockpit is particularly impressive.
Some of the action set pieces also entertain. A Will-on-Will bike chase is well done, and I've not seen a bike used as a hand-to-hand weapon in this way before!
And Will Smith is no doubt a class act, with his 'youngification' (I'm not sure what the official word is) also being effectively done. I also enjoyed Mary Elizabeth Winstead, who was great in "10 Cloverfield Lane". The lady has real screen presence.
But man oh man, that script. Let's name the guilty parties in this film: the scriptwriters David Benioff (Game of Thrones), Darren Lemke and Billy Ray. (I'll put Ray last in the list, since the story was by Benioff and Lemke and this has the smell to me of Ray - who has a history of some great scripts like Captain Phillips under his name - being drafted in to steady a listing ship).
Some of the dialogue in this film is not just a bit dodgy. It's head in the hands groan-worthy (and I actually did at times: fortunately the cinema was barely half full and I was on my own in the whole row). And some of it is just plain offensive. Henry meets his old pal Jack Willis (Douglas Hodge) on his yacht where he explains his wife is on a trip to Paris as a scantily clad dolly-bird wanders past. Henry comically rolls his eyes at this adulterous behaviour, with some sort of "Jack, what are you loike!" comment. Cringe-worthy.
Will Smith, Mary Elizabeth Winstead and Benedict Wong (their ally, adding some comic relief) are clearly good actors. But the script often makes them look utterly vacuous and stupid. And Lee seems to have a "good enough, move on" approach to the filming. One jaw-dropping moment has Will Smith telling the others that they are going to Budapest. "Budapest?" Winstead and Wong are supposed to say in union, but mistime it. "Can we do that again?". Nope. It's on the screen.
As for Clive Owen... sorry, he's really not in the same acting league, and the script does him even fewer favours. As he says at one point "It's like the Hindenburg crashing into the Titanic". I couldn't have put it better myself.
"Uncanny Valley". You know this phrase. The Princess Leia and Moff Tarkin scenes in "Rogue One" is the classic example. Effects that don't quite work on the big screen. "But" - you say to yourself - "Dr Bob just said that the 'youngification' of Will Smith was done really well?". And I'll repeat again that it was. It's on a par with Samuel L. Jackson's 'youngification' in "Captain Marvel". Where something strange happens is in the film's overall projection. Ang Lee has tried again with his experiment of filming at a massive 120 frames per second..... five times the normal movie frame rate of 24 fps. And the quality of the picture - particularly during high-speed action scenes - becomes outstandingly good! But equally it just doesn't 'look right'.
When the human eye presumably works at an equivalent "fps" of thousands of 'frames per second' you'd think that it should all be fine. But for some reason I just found it distracting. Presumably the audiences for "The Jazz Singer" thought the same about sound; and those for "Gone with the Wind" and the "Wizard of Oz" about colour. Maybe we've seen the future, and its the new norm that we just need to get used to. We'll see.
Ang Lee's "Life of Pi" was extraordinary. His "Hulk" was one of the poorest of the Marvel canon. Unfortunately, this movie is at the "Hulk" end of the spectrum. Which is a real shame. The duo of the 51 year old Smith and the 35 year old Winstead work really well together. They have great chemistry, but, you'll be relieved to hear, avoid any icky love interest.
What a shame. With a different script, and some good production values, this could have been a very different story.
(For the full graphical review, please check out https://bob-the-movie-man.com/2019/10/18/one-manns-movies-film-review-gemini-man-2019/ )
Gareth von Kallenbach (971 KP) rated Rage 2 in Video Games
Jun 19, 2019
In 2010 Bethesda released RAGE. The game was the next step in the Id Shooters as it combined the combat the company was known for with a story, outdoor locales, customization, and vehicle combat and racing. As if that was not enough; the game featured a large Post-Apocalypse world, tons of enemies, and several side missions.
The game was so large that it took several discs to contain the game and I remember our review unit arriving extra early so we had time to load the large game so we could be ready to play when it went online.
Nine years later we finally get the sequel as RAGE 2 has arrived from Avalanche Studios. The game picks up 20 years after the first game as players take on the character of Walker; a first generation offspring from the original Ark survivors.
After a deadly attack by the evil General Cross and his army of Mutants; Walker takes on the role as the last of the Rangers and travels the Wastelands to find new Ranger tech, make allies, gather loot, and fight Bandits, Mutants, and other enemies that arise.
Walker has a nice arsenal of pistols, Shotguns, Machine Guns, Rocket Launchers, Grenades, and his deadly Wingstick as well as a series of Nanotech powered abilities which can be improved and gained over time.
There are various towns for players to advance the main mission as well as gain side missions, trade, buy, and increase their vehicle and weapon abilities.
Players will need all this and more as the enemies are numerous and deadly. Just driving between two points on a mission can lead to roving bands and convoys attacking you; not to mention Road Blocks and other Bandit Dens that arise.
The game deftly combines first person combat and vehicle combat and offers some very fine graphics which really lead to the immersion. One issue I had is that some missions seem more like a back and forth between two points versus some of the more cohesive moments on other missions.
The NPC characters do not do as much as some may like as you will pretty much be a Lone Wolf but you will be able to chat with characters to advance the story and get side missions.
The game does require players to win a race in order to advance the story and it took many tries including some frustrating second place finishes before I was able to cross the Finish Line first ahead of the pack.
The game provides plenty of gameplay as I put in over 20 hours on it and there are still some areas I can wander to clean up but with DLC and new content coming; I am looking forward to seeing what is to come. I also look forward to fully loading out my vehicles and weapons as the three main weapons I have are amazing and I would love to see what the full loadout can do.
I was a bit disappointed over the lack of Multiplayer as it was included in the first game and I had hoped we would be able to get both vehicle and FPS combat this time out or at the least a Co-Op mode.
The music and sound effects are good although they can drop or fade now and then but this has become better with a recent patch.
RAGE 2 provided plenty of immersive entertainment and was a very entertaining and engaging game despite some frustrations along the way. The game clearly indicates more is coming to the story and I cannot wait to see what comes next.
http://sknr.net/2019/06/07/rage-2/
The game was so large that it took several discs to contain the game and I remember our review unit arriving extra early so we had time to load the large game so we could be ready to play when it went online.
Nine years later we finally get the sequel as RAGE 2 has arrived from Avalanche Studios. The game picks up 20 years after the first game as players take on the character of Walker; a first generation offspring from the original Ark survivors.
After a deadly attack by the evil General Cross and his army of Mutants; Walker takes on the role as the last of the Rangers and travels the Wastelands to find new Ranger tech, make allies, gather loot, and fight Bandits, Mutants, and other enemies that arise.
Walker has a nice arsenal of pistols, Shotguns, Machine Guns, Rocket Launchers, Grenades, and his deadly Wingstick as well as a series of Nanotech powered abilities which can be improved and gained over time.
There are various towns for players to advance the main mission as well as gain side missions, trade, buy, and increase their vehicle and weapon abilities.
Players will need all this and more as the enemies are numerous and deadly. Just driving between two points on a mission can lead to roving bands and convoys attacking you; not to mention Road Blocks and other Bandit Dens that arise.
The game deftly combines first person combat and vehicle combat and offers some very fine graphics which really lead to the immersion. One issue I had is that some missions seem more like a back and forth between two points versus some of the more cohesive moments on other missions.
The NPC characters do not do as much as some may like as you will pretty much be a Lone Wolf but you will be able to chat with characters to advance the story and get side missions.
The game does require players to win a race in order to advance the story and it took many tries including some frustrating second place finishes before I was able to cross the Finish Line first ahead of the pack.
The game provides plenty of gameplay as I put in over 20 hours on it and there are still some areas I can wander to clean up but with DLC and new content coming; I am looking forward to seeing what is to come. I also look forward to fully loading out my vehicles and weapons as the three main weapons I have are amazing and I would love to see what the full loadout can do.
I was a bit disappointed over the lack of Multiplayer as it was included in the first game and I had hoped we would be able to get both vehicle and FPS combat this time out or at the least a Co-Op mode.
The music and sound effects are good although they can drop or fade now and then but this has become better with a recent patch.
RAGE 2 provided plenty of immersive entertainment and was a very entertaining and engaging game despite some frustrations along the way. The game clearly indicates more is coming to the story and I cannot wait to see what comes next.
http://sknr.net/2019/06/07/rage-2/
BankofMarquis (1832 KP) rated Gemini Man (2019) in Movies
Oct 17, 2019
The Effects Just Aren't Good Enough
Ang Lee is a visionary Director that loves to push the envelope of advances in movie-making technology, so the plot contrivance of GEMINI MAN (a Government Assassin is being chased by his much younger clone) was right up his alley - and he makes good (enough) work of the technology that "de-ages" Will Smith and puts the older and younger version of himself on screen at the same time. This was also his 2nd film (after BILLY FLYNN'S LONG HALFTIME WALK) that Lee shot in 4K 3D at 120 frames per second (the "normal" shooting speed is 24 FPS).
He should have spent more of his time on the script..
Based on a long gestating screenplay written in the 1990's by David Lemke (and re-written in the 2010's by Billy Ray - THE HUNGER GAMES - and Mr. GAME OF THRONES himself, David Benioff), GEMINI MAN follows a Government Contract Killer, Henry Brogan (Will Smtih) who does "one last job" and is looking forward to retirement. His agency (under the leadership of Clive Owen) decides to "take him out" and sends "Gemini" after him. Brogan tries to escape but his every move is anticipated by the Gemini - a younger clone of himself (this is not a spoiler, it's in the trailer and ON THE POSTER). He is joined by a pair of "buddies" (Mary Elizabeth Winsted and Benedict Wong) in plotting how to outsmart himself.
This film had all the markings of a bad "B" film, but under the watchful eye of Lee and the charismatic performances of Winsted, Wong - and most especially - Smith, this film is actually quite watchable.
What doesn't work - the plot. To say it is contrived is to do a disservice to the word "contrived". It really doesn't give us anything new, it just gives us a bridge from action scene to action. Also, the reasoning of the Government to get rid of Brogan doesn't really work and Clive Owen - as the head of the Gemini program - and the main "suit" that is chasing Smith looks like he is sleepwalking his way through this film.
What works - the interplay and "fun" of Smith, Winsted and Wong as the 3 "professionals" on the run - and outsmarting - "the Agency". These 3 work really well off each other and I would love to have seen a "Mission Impossible" style film of these 3 doing some sort of impossible mission. Special note needs to be made of Smith's performance - as the older Brogan. He is world weary and heavy, but still has the twinkle in his eye and the physical acumen to be a top assassin. This is the type of role that Smith - especially at his age and experience - is ideal for. His charisma shines and he holds his own in the physical/fight scenes. Also, Ang Lee knows how to shoot an action sequence. True, there is nothing "new", revolutionary or evolutionary in any of the fight/chase scenes, but they are put together in a competent, professional manner and did a good enough job.
And then there is the younger Brogan - "Junior" - played by a CGI "de-aged" Will Smith.
We've seen the CGI "de-aging" effect before - most notably in some Marvel Movies like CAPTAIN MARVEL - and while it works well enough, I just don't think it is quite there yet. You can tell that something is just a little off - not enough for it to really bother you, but enough to know that something isn't quite right - especially when Junior spends most of this film on screen with his older self. You see the "real" Will Smith up against the "copy" and the "copy" looks like...a copy. Also, the "de-aging" of the voice didn't really work for me. It sounded "off" and at times it sounded like bad ADR.
I was able to shrug off these slight technical anomalies and enjoy this film for what it is - a breezy action-er that certainly entertains for 2 hours. But it is no masterpiece and no "major" technological breakthrough. That will have to wait for another movie.
Letter Grade: B (mostly for the fun interplay between older Smith, Winsted and Wong)
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
He should have spent more of his time on the script..
Based on a long gestating screenplay written in the 1990's by David Lemke (and re-written in the 2010's by Billy Ray - THE HUNGER GAMES - and Mr. GAME OF THRONES himself, David Benioff), GEMINI MAN follows a Government Contract Killer, Henry Brogan (Will Smtih) who does "one last job" and is looking forward to retirement. His agency (under the leadership of Clive Owen) decides to "take him out" and sends "Gemini" after him. Brogan tries to escape but his every move is anticipated by the Gemini - a younger clone of himself (this is not a spoiler, it's in the trailer and ON THE POSTER). He is joined by a pair of "buddies" (Mary Elizabeth Winsted and Benedict Wong) in plotting how to outsmart himself.
This film had all the markings of a bad "B" film, but under the watchful eye of Lee and the charismatic performances of Winsted, Wong - and most especially - Smith, this film is actually quite watchable.
What doesn't work - the plot. To say it is contrived is to do a disservice to the word "contrived". It really doesn't give us anything new, it just gives us a bridge from action scene to action. Also, the reasoning of the Government to get rid of Brogan doesn't really work and Clive Owen - as the head of the Gemini program - and the main "suit" that is chasing Smith looks like he is sleepwalking his way through this film.
What works - the interplay and "fun" of Smith, Winsted and Wong as the 3 "professionals" on the run - and outsmarting - "the Agency". These 3 work really well off each other and I would love to have seen a "Mission Impossible" style film of these 3 doing some sort of impossible mission. Special note needs to be made of Smith's performance - as the older Brogan. He is world weary and heavy, but still has the twinkle in his eye and the physical acumen to be a top assassin. This is the type of role that Smith - especially at his age and experience - is ideal for. His charisma shines and he holds his own in the physical/fight scenes. Also, Ang Lee knows how to shoot an action sequence. True, there is nothing "new", revolutionary or evolutionary in any of the fight/chase scenes, but they are put together in a competent, professional manner and did a good enough job.
And then there is the younger Brogan - "Junior" - played by a CGI "de-aged" Will Smith.
We've seen the CGI "de-aging" effect before - most notably in some Marvel Movies like CAPTAIN MARVEL - and while it works well enough, I just don't think it is quite there yet. You can tell that something is just a little off - not enough for it to really bother you, but enough to know that something isn't quite right - especially when Junior spends most of this film on screen with his older self. You see the "real" Will Smith up against the "copy" and the "copy" looks like...a copy. Also, the "de-aging" of the voice didn't really work for me. It sounded "off" and at times it sounded like bad ADR.
I was able to shrug off these slight technical anomalies and enjoy this film for what it is - a breezy action-er that certainly entertains for 2 hours. But it is no masterpiece and no "major" technological breakthrough. That will have to wait for another movie.
Letter Grade: B (mostly for the fun interplay between older Smith, Winsted and Wong)
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Matthew Krueger (10051 KP) rated the Xbox 360 version of Doom in Video Games
Mar 20, 2020
Kick Some Ass
Doom- such a classic to all, I personally didnt play doom until the 360. Yes you read that right, i didnt play this game until the 360. So lets talk about it.
The gameplay:
Doom is a first-person shooter presented with early 3D graphics. The player controls an unnamed space marine—later termed the Doomguy—through a series of levels set in military bases on the moons of Mars and in Hell. To finish a level, the player must traverse through the area to reach a marked exit room. Levels are grouped together into named episodes, with the final level focusing on a boss fight with a particularly difficult enemy.
While traversing the levels, the player must fight a variety of enemies, including demons and possessed undead humans, while managing supplies of ammunition, health, and armor. Enemies often appear in large groups, and the game features five difficulty levels which increase the quantity and damage done by enemies, with enemies respawning upon death and moving faster than normal on the hardest difficulty setting.
Levels can also include pits of toxic waste, ceilings that lower and crush anything below them, and locked doors which require a keycard, skull-shaped key device, or a remote switch to be opened.
The plot:
Doom is divided into three episodes: "Knee-Deep in the Dead", "The Shores of Hell", and "Inferno". A fourth episode, "Thy Flesh Consumed", was added in an expanded version of the game, The Ultimate Doom. The game itself contains very few plot elements, with the minimal story instead given in the instruction manual and short text segues between episodes.
In the future, the player character (an unnamed space marine) has been punitively posted to Mars after assaulting a superior officer, who ordered his unit to fire on civilians. Players assume the role of a space marine, popularly known as "Doomguy", fighting his way through hordes of invading demons from Hell.
The Impact/Legacy:
Doom helped define the FPS genre and inspired numerous similar games, known as "Doom clones". It is one of the most significant games in video game history, and is frequently cited as one of the greatest games of all time. It pioneered online distribution and technologies including 3D graphics, networked multiplayer gaming, and support for customized modifications via packaged files (WADs). However, its graphic violence and hellish imagery also made it a subject of controversy.
Doom was influential and dozens of new first-person shooter titles appeared following Doom's release, and they were often referred to as "Doom clones" rather than "first-person shooters". The term "Doom clone" was used to describe the style of gameplay in Doom-style games. While the term was initially popular, it was, after 1996, gradually replaced by "first-person shooter", and the phrase "first-person shooter" had firmly superseded "Doom clone" around 1998. Some of these were certainly "clones", hastily assembled and quickly forgotten, while others explored new grounds of the genre and were highly acclaimed. Many of the games closely imitated features in Doom such as the selection of weapons and cheat codes.
Devoted players have spent years creating speedruns for Doom, competing for the quickest completion times and sharing knowledge about routes through the levels and how to exploit bugs in the Doom engine for shortcuts. Achievements include the completion of both Doom and Doom II on the "Ultra-Violence" difficulty setting in less than 30 minutes each. In addition, a few players have also managed to complete Doom II in a single run on the difficulty setting "Nightmare!", on which monsters are more aggressive, launch faster projectiles (or, in the case of the Pinky Demon, simply move faster), and respawn roughly 30 seconds after they have been killed (level designer John Romero characterized the idea of such a run as "[just having to be] impossible").
So overall Doom is a epic game, and started the first person shooter genre, started speedrunning and started the franchise as we know today. So thank you id software and John Ramero for this game.
The gameplay:
Doom is a first-person shooter presented with early 3D graphics. The player controls an unnamed space marine—later termed the Doomguy—through a series of levels set in military bases on the moons of Mars and in Hell. To finish a level, the player must traverse through the area to reach a marked exit room. Levels are grouped together into named episodes, with the final level focusing on a boss fight with a particularly difficult enemy.
While traversing the levels, the player must fight a variety of enemies, including demons and possessed undead humans, while managing supplies of ammunition, health, and armor. Enemies often appear in large groups, and the game features five difficulty levels which increase the quantity and damage done by enemies, with enemies respawning upon death and moving faster than normal on the hardest difficulty setting.
Levels can also include pits of toxic waste, ceilings that lower and crush anything below them, and locked doors which require a keycard, skull-shaped key device, or a remote switch to be opened.
The plot:
Doom is divided into three episodes: "Knee-Deep in the Dead", "The Shores of Hell", and "Inferno". A fourth episode, "Thy Flesh Consumed", was added in an expanded version of the game, The Ultimate Doom. The game itself contains very few plot elements, with the minimal story instead given in the instruction manual and short text segues between episodes.
In the future, the player character (an unnamed space marine) has been punitively posted to Mars after assaulting a superior officer, who ordered his unit to fire on civilians. Players assume the role of a space marine, popularly known as "Doomguy", fighting his way through hordes of invading demons from Hell.
The Impact/Legacy:
Doom helped define the FPS genre and inspired numerous similar games, known as "Doom clones". It is one of the most significant games in video game history, and is frequently cited as one of the greatest games of all time. It pioneered online distribution and technologies including 3D graphics, networked multiplayer gaming, and support for customized modifications via packaged files (WADs). However, its graphic violence and hellish imagery also made it a subject of controversy.
Doom was influential and dozens of new first-person shooter titles appeared following Doom's release, and they were often referred to as "Doom clones" rather than "first-person shooters". The term "Doom clone" was used to describe the style of gameplay in Doom-style games. While the term was initially popular, it was, after 1996, gradually replaced by "first-person shooter", and the phrase "first-person shooter" had firmly superseded "Doom clone" around 1998. Some of these were certainly "clones", hastily assembled and quickly forgotten, while others explored new grounds of the genre and were highly acclaimed. Many of the games closely imitated features in Doom such as the selection of weapons and cheat codes.
Devoted players have spent years creating speedruns for Doom, competing for the quickest completion times and sharing knowledge about routes through the levels and how to exploit bugs in the Doom engine for shortcuts. Achievements include the completion of both Doom and Doom II on the "Ultra-Violence" difficulty setting in less than 30 minutes each. In addition, a few players have also managed to complete Doom II in a single run on the difficulty setting "Nightmare!", on which monsters are more aggressive, launch faster projectiles (or, in the case of the Pinky Demon, simply move faster), and respawn roughly 30 seconds after they have been killed (level designer John Romero characterized the idea of such a run as "[just having to be] impossible").
So overall Doom is a epic game, and started the first person shooter genre, started speedrunning and started the franchise as we know today. So thank you id software and John Ramero for this game.
