Search
Search results
Debbiereadsbook (1617 KP) rated Becoming His Perfect Daddy (Unlikely Daddies #1) in Books
May 19, 2024
bloody LOVED this book!
Independent reviewer for GRR, I was gifted my copy of this book.
Let me just put this out there, Ok?? I'm a straight cis woman, on the wrong side of 50. I read a lot of MM books, and have read some with trans main characters. I have not ever read a T4T (my apologies if this is incorrect, but I'm trying!) book, never. So I went into this with an open mind and an open heart and an open book brain.
But let me tell you about this book!
There is a bit at the beginning of this book, that the author wrote. I don't usually bother with those, unles my book feelings tell me to read it, so I did and it gave me a much better insight into Sam and Cameron, but also into this author, as some of this book is their story. (again, apologies is this is incorrect, but I couldn't find your preferred pronouns, so went with the best option!)
And what that bit does, my good peeps, is set it all out for you, in a way a lay person like myself can understand the terms, words and difficulties being a trans person comes with.
While this book is set over a long period of time, over a year, I was surprised at the speed at which things moved for Sam, once he made the decision to become himself. I know in the UK these take a long, LONG time, so that surprised me.
Sam and Cameron are perfect for each other! Cameron has already transitioned, and Sam has the dawning realisation that he is not in the right body after reading one of Cameron's books. That CAMERON makes him see who he really should be, a man and a Daddy. These two are absolutely perfect for each other, they really are! Loved how the D/b relationship developed.
I will be honest, I wasn't sure the smexy times would work, I don't know WHY I thought that, but you know me and my book brain, but bloody hell! They work, trust me! Super spicy smexy times!! Loved that!
You get deep into the psyche of being trans with these two. The emotions are deep and heavy in places. Made me cry in some places, it really did, the weight of feelings that these men have about themselves. It's really painful reading in parts, and I think you need to be aware if you have any triggers regarding body dysmophia.
I LOVED this book, in case I didn't say it yet!
I see two pairings among the side characters, one set have their book next and I will be reading that book, and any more that come along! I also found that this is only the author's second book, with a short before this one. And bloody hell, they smashed it out the park!
I cannot give it anything other than. . .
5 full and super shiny stars
*same worded review will appear elsewhere
Let me just put this out there, Ok?? I'm a straight cis woman, on the wrong side of 50. I read a lot of MM books, and have read some with trans main characters. I have not ever read a T4T (my apologies if this is incorrect, but I'm trying!) book, never. So I went into this with an open mind and an open heart and an open book brain.
But let me tell you about this book!
There is a bit at the beginning of this book, that the author wrote. I don't usually bother with those, unles my book feelings tell me to read it, so I did and it gave me a much better insight into Sam and Cameron, but also into this author, as some of this book is their story. (again, apologies is this is incorrect, but I couldn't find your preferred pronouns, so went with the best option!)
And what that bit does, my good peeps, is set it all out for you, in a way a lay person like myself can understand the terms, words and difficulties being a trans person comes with.
While this book is set over a long period of time, over a year, I was surprised at the speed at which things moved for Sam, once he made the decision to become himself. I know in the UK these take a long, LONG time, so that surprised me.
Sam and Cameron are perfect for each other! Cameron has already transitioned, and Sam has the dawning realisation that he is not in the right body after reading one of Cameron's books. That CAMERON makes him see who he really should be, a man and a Daddy. These two are absolutely perfect for each other, they really are! Loved how the D/b relationship developed.
I will be honest, I wasn't sure the smexy times would work, I don't know WHY I thought that, but you know me and my book brain, but bloody hell! They work, trust me! Super spicy smexy times!! Loved that!
You get deep into the psyche of being trans with these two. The emotions are deep and heavy in places. Made me cry in some places, it really did, the weight of feelings that these men have about themselves. It's really painful reading in parts, and I think you need to be aware if you have any triggers regarding body dysmophia.
I LOVED this book, in case I didn't say it yet!
I see two pairings among the side characters, one set have their book next and I will be reading that book, and any more that come along! I also found that this is only the author's second book, with a short before this one. And bloody hell, they smashed it out the park!
I cannot give it anything other than. . .
5 full and super shiny stars
*same worded review will appear elsewhere
5 Minute Movie Guy (379 KP) rated Blended (2014) in Movies
Jun 26, 2019
Sandler and Barrymore still have wonderful chemistry. (1 more)
Blended makes a big recovery by showing a lot of heart.
The first half-hour of the film is almost unbearably bad. (2 more)
The African setting is a lot of fun, but also feels somewhat racist.
It has some pretty good laughs but it may be too cheesy for some.
Blended requires some patience to get through its torturous start but it makes a respectable comeback as Adam Sandler and Drew Barrymore prove that they’re still a delightful comedic duo.
Adam Sandler and Drew Barrymore once again reunite for the romantic comedy Blended. Previously the pair starred together in The Wedding Singer and 50 First Dates, and while the two of them have sincerely compelling chemistry, Blended is unfortunately their worst pairing to-date. The premise of the film revolves around the idea of two single parents falling in love and blending each of their families together as one, à la The Brady Bunch. It’s interesting then that the film itself seems to parallel a predictable process of blending as a family. At first, it’s an unwelcome and uncomfortable experience, but as time goes by it becomes more agreeable, and eventually it becomes acceptable and even enjoyable. The same can be said of Blended, which suffers from a dreadful beginning, but gradually gets better, and by the end becomes a pretty good family-friendly film overall.
Blended face-plants in spectacular fashion right out of the gate as we first meet Jim (Sandler) and Lauren (Barrymore) on a disastrous blind date at Hooters that’s incredibly uncomfortable to watch. Sandler’s character Jim initially comes off appearing remarkably repulsive and immature, while Barrymore’s Lauren is uptight and unlikeable. Things become even more unbearable when the two of them run into each other soon later at a grocery store, in a lifeless scene that is outrageously awkward. There’s also a glaring absence of music throughout the beginning of the movie, which only seems to emphasize the bad dialogue and unpleasant situations. The first half hour of the film is dull, dry, and devoid of any laughs. However, if you can endure Blended’s horrendous beginning, you’ll find that it makes up for its missteps by being a fun movie with a lot of heart.
The film finally finds its footing when Jim and Lauren unintentionally find themselves sharing a vacation in Africa. Since both of them struggle to understand and connect with their children, they each jump on an opportunity to reward their families with a trip to Africa, while being entirely unaware that the other is doing the same thing. As a result, Jim and Lauren and their respective children are all forced together, as their trip entails sharing a hotel room at the extravagant Sun City Resort in South Africa, which is hosting a special weekend event for blended families. While this involuntary blending is initially met with great opposition, the two families gradually learn to put aside their differences and begin to care for each other. Furthermore, it turns out that while Lauren and Jim are each somewhat oblivious with raising their own kids, they’re perfectly suited to teach each other’s kids. As a dainty, goody-two-shoes mom, Lauren has difficulty controlling her two wild young boys, but she knows how to care for Jim’s daughters with a much-needed womanly touch. Equally convenient is how sports-obsessed Jim is able to instill discipline and respect in Lauren’s reckless children. Sure, it’s a bit cheesy and predictable, but it works, and does so without feeling completely contrived.
The African setting in Blended is exciting and beautifully represented, although its depiction does seem mildly racist. It just feels a little wrong to have an African resort where rich white people can go on vacation and be catered to by Africans that are portrayed as being relatively primitive. Even Sun City Resort feels less like a resort and more like an amusement park, albeit one that I’d love to visit. It serves as an appealing setting and looks like a whole lot of fun. Perhaps it’s unsurprising then that Adam Sandler recently confessed that he chooses his movies based on where he wants to go on vacation. It may be something of a devious strategy, but he’s managed to make himself a very successful career in doing it. He’s a guy who knows how to have fun, and I think that’s where Blended really shines. Even though it gets started off on the wrong foot, it’s a film that ends up offering a fair amount of laughs, while being a fun movie-going experience.
The performances in Blended are a bit typical, but they’re certainly not bad. Adam Sandler plays his usual good-intentioned-but-misunderstood man-child self. Meanwhile, Drew Barrymore adds a lot of fun to her role as the sweet, geeky mom who’s trying hard to be cool. Terry Crews represents the head of the singing entertainment at the resort who repeatedly appears to interrupt in song. He brings in a good dose of humor and had me really cracking up in one scene. Kevin Nealon seems to be channeling his character from Happy Gilmore in this movie, and is part of another blended couple vacationing in Africa. His blonde trophy girlfriend played by Jessica Lowe is a real stand-out. She does a remarkable job creating laughs as a stereotypical bimbo. Her hot and heavy relationship with Nealon is truly comical, even if slightly sickening. As for the children, their performances are mostly adequate, with Jim’s daughters being the best of the bunch. Disney star Bella Thorne is wonderful as Hilary, who like all of Jim’s children, has unconsciously been raised like a boy, even to the extent of being nicknamed Larry. Additionally, the young Emma Fuhrmann, who plays Jim’s middle daughter, can be surprisingly effective at evoking genuine heart-felt emotion into her scenes. Of course, this wouldn’t be an Adam Sandler without some cameos from his buddies, although the ones in Blended fail to be very funny at all.
All in all, Blended requires some patience to get through its torturous start, and it gets pretty heavy on the cheesiness later in the film, but it makes a respectable comeback overall. It even manages to touch on aspects of the awful beginning and effectively incorporate them into the grand scheme of things later on. In the end, everything ends up blending together nicely to create a pretty decent comedy, while Adam Sandler and Drew Barrymore prove that they’re still a delightful comedic duo.
(This review was originally posted at 5mmg.com on 6.16.14.)
Blended face-plants in spectacular fashion right out of the gate as we first meet Jim (Sandler) and Lauren (Barrymore) on a disastrous blind date at Hooters that’s incredibly uncomfortable to watch. Sandler’s character Jim initially comes off appearing remarkably repulsive and immature, while Barrymore’s Lauren is uptight and unlikeable. Things become even more unbearable when the two of them run into each other soon later at a grocery store, in a lifeless scene that is outrageously awkward. There’s also a glaring absence of music throughout the beginning of the movie, which only seems to emphasize the bad dialogue and unpleasant situations. The first half hour of the film is dull, dry, and devoid of any laughs. However, if you can endure Blended’s horrendous beginning, you’ll find that it makes up for its missteps by being a fun movie with a lot of heart.
The film finally finds its footing when Jim and Lauren unintentionally find themselves sharing a vacation in Africa. Since both of them struggle to understand and connect with their children, they each jump on an opportunity to reward their families with a trip to Africa, while being entirely unaware that the other is doing the same thing. As a result, Jim and Lauren and their respective children are all forced together, as their trip entails sharing a hotel room at the extravagant Sun City Resort in South Africa, which is hosting a special weekend event for blended families. While this involuntary blending is initially met with great opposition, the two families gradually learn to put aside their differences and begin to care for each other. Furthermore, it turns out that while Lauren and Jim are each somewhat oblivious with raising their own kids, they’re perfectly suited to teach each other’s kids. As a dainty, goody-two-shoes mom, Lauren has difficulty controlling her two wild young boys, but she knows how to care for Jim’s daughters with a much-needed womanly touch. Equally convenient is how sports-obsessed Jim is able to instill discipline and respect in Lauren’s reckless children. Sure, it’s a bit cheesy and predictable, but it works, and does so without feeling completely contrived.
The African setting in Blended is exciting and beautifully represented, although its depiction does seem mildly racist. It just feels a little wrong to have an African resort where rich white people can go on vacation and be catered to by Africans that are portrayed as being relatively primitive. Even Sun City Resort feels less like a resort and more like an amusement park, albeit one that I’d love to visit. It serves as an appealing setting and looks like a whole lot of fun. Perhaps it’s unsurprising then that Adam Sandler recently confessed that he chooses his movies based on where he wants to go on vacation. It may be something of a devious strategy, but he’s managed to make himself a very successful career in doing it. He’s a guy who knows how to have fun, and I think that’s where Blended really shines. Even though it gets started off on the wrong foot, it’s a film that ends up offering a fair amount of laughs, while being a fun movie-going experience.
The performances in Blended are a bit typical, but they’re certainly not bad. Adam Sandler plays his usual good-intentioned-but-misunderstood man-child self. Meanwhile, Drew Barrymore adds a lot of fun to her role as the sweet, geeky mom who’s trying hard to be cool. Terry Crews represents the head of the singing entertainment at the resort who repeatedly appears to interrupt in song. He brings in a good dose of humor and had me really cracking up in one scene. Kevin Nealon seems to be channeling his character from Happy Gilmore in this movie, and is part of another blended couple vacationing in Africa. His blonde trophy girlfriend played by Jessica Lowe is a real stand-out. She does a remarkable job creating laughs as a stereotypical bimbo. Her hot and heavy relationship with Nealon is truly comical, even if slightly sickening. As for the children, their performances are mostly adequate, with Jim’s daughters being the best of the bunch. Disney star Bella Thorne is wonderful as Hilary, who like all of Jim’s children, has unconsciously been raised like a boy, even to the extent of being nicknamed Larry. Additionally, the young Emma Fuhrmann, who plays Jim’s middle daughter, can be surprisingly effective at evoking genuine heart-felt emotion into her scenes. Of course, this wouldn’t be an Adam Sandler without some cameos from his buddies, although the ones in Blended fail to be very funny at all.
All in all, Blended requires some patience to get through its torturous start, and it gets pretty heavy on the cheesiness later in the film, but it makes a respectable comeback overall. It even manages to touch on aspects of the awful beginning and effectively incorporate them into the grand scheme of things later on. In the end, everything ends up blending together nicely to create a pretty decent comedy, while Adam Sandler and Drew Barrymore prove that they’re still a delightful comedic duo.
(This review was originally posted at 5mmg.com on 6.16.14.)
Haley Mathiot (9 KP) rated Soul Catcher (The Outsider #1) in Books
Apr 27, 2018
Soul Catcher by Leigh Bridger
Genre: Sci-fi, Romance
ISBN: 9780982175682
Rating: 4
Livia hasn't had a perfect life—in fact she hasn't even had a good life. It all started when her father died when she was young, then got worse when her mother and baby brother died in a fire that she may or may not have started. She also starts painting pictures of evil horrible demons in her sleep, and is forced to burn the pictures and ban them… but one demon escapes, and comes for her.
She finds out that he had been pursuing her in every life—she's been reincarnated? what?—and has killed her every time for the past 200+ years. She also finds out that she has a soul mate, (who jumped into the body that the demon had used to hurt her, and now she can't look at him without getting sick) but has hidden herself from him in almost every life, subconsciously, because of something that happened in the past. She and Ian set off to find answers and to kill the pig-faced demon… for good this time. But this time ends up being the most dangerous life she's ever lived.
Soul Catcher was an addicting read. I would have read it in one sitting if I'd been allowed. It actually stuck with me all night and I'm pretty sure I dreamed about it.
I liked the philosophy of the world that Livia lived in. There were soul jumpers, like Ian and Dante, who could jump into any body he needed to be in at the time. There were soul catchers like her, who could banish dark spirits and talk to the light ones. The plot itself was very complex, and every chapter added something new to the story. One thing that made Soul Catcher stand out was how Livia and Ian's love grew. It wasn't immediate you're-my-soul-mate-you're-perfect-for-me kind of love. It was a lot more real than that. Livia starts by trying to avoid him at all costs, but ends up having to go on a trip with him to find out about their pasts. You could say they "bonded," or you could say that Ian finally got to her—even while he was in the body she hated passionately—either way, their love was real enough to be believable.
I really liked Livia, even though she had her downfalls and her insecurities. She was definitely the bad-ass heroine we know and love: slightly sarcastic, very obnoxious, stubborn as an ox, and head over heels in love but unwilling to admit it because she sees it as a weakness. Ian was a great character: he'd have to be to put up with Livia. He'd do anything for her, is dying for her to love him, thinks she is the most beautiful girl in the world—and even bends so low as to trick her into kissing him (she didn't appreciate that.). But he's all light-hearted, fun to be around, with a sexy Irish accent.
I really liked the ending. The whole story had good humor and good comic relief, but the ending was sweet, cute, and funny. It pulled everything together nicely, and left you with a smirk on your face. I say take it to the beach with an umbrella and lemonade. Or whatever other drink you like best.
Content/recommendation: some sex and sexual references, heavy language, ages 18+
~ Haleyknitz
Genre: Sci-fi, Romance
ISBN: 9780982175682
Rating: 4
Livia hasn't had a perfect life—in fact she hasn't even had a good life. It all started when her father died when she was young, then got worse when her mother and baby brother died in a fire that she may or may not have started. She also starts painting pictures of evil horrible demons in her sleep, and is forced to burn the pictures and ban them… but one demon escapes, and comes for her.
She finds out that he had been pursuing her in every life—she's been reincarnated? what?—and has killed her every time for the past 200+ years. She also finds out that she has a soul mate, (who jumped into the body that the demon had used to hurt her, and now she can't look at him without getting sick) but has hidden herself from him in almost every life, subconsciously, because of something that happened in the past. She and Ian set off to find answers and to kill the pig-faced demon… for good this time. But this time ends up being the most dangerous life she's ever lived.
Soul Catcher was an addicting read. I would have read it in one sitting if I'd been allowed. It actually stuck with me all night and I'm pretty sure I dreamed about it.
I liked the philosophy of the world that Livia lived in. There were soul jumpers, like Ian and Dante, who could jump into any body he needed to be in at the time. There were soul catchers like her, who could banish dark spirits and talk to the light ones. The plot itself was very complex, and every chapter added something new to the story. One thing that made Soul Catcher stand out was how Livia and Ian's love grew. It wasn't immediate you're-my-soul-mate-you're-perfect-for-me kind of love. It was a lot more real than that. Livia starts by trying to avoid him at all costs, but ends up having to go on a trip with him to find out about their pasts. You could say they "bonded," or you could say that Ian finally got to her—even while he was in the body she hated passionately—either way, their love was real enough to be believable.
I really liked Livia, even though she had her downfalls and her insecurities. She was definitely the bad-ass heroine we know and love: slightly sarcastic, very obnoxious, stubborn as an ox, and head over heels in love but unwilling to admit it because she sees it as a weakness. Ian was a great character: he'd have to be to put up with Livia. He'd do anything for her, is dying for her to love him, thinks she is the most beautiful girl in the world—and even bends so low as to trick her into kissing him (she didn't appreciate that.). But he's all light-hearted, fun to be around, with a sexy Irish accent.
I really liked the ending. The whole story had good humor and good comic relief, but the ending was sweet, cute, and funny. It pulled everything together nicely, and left you with a smirk on your face. I say take it to the beach with an umbrella and lemonade. Or whatever other drink you like best.
Content/recommendation: some sex and sexual references, heavy language, ages 18+
~ Haleyknitz
BankofMarquis (1832 KP) rated Hellboy (2019) in Movies
Apr 14, 2019
Oh...hell, no!
HELLBOY?!? HELL NO!
I would imagine that about 90% of my readership just got what they needed out of my review with that first line and have moved on. For the rest of you, I will now explain why this reboot of HELLBOY is now the "leader in the clubhouse" for worst picture of 2019.
I was pleasantly surprised by the 2004 Guillermo del Toro helmed and written HELLBOY and was even more surprised by how good the del Toro written and helmed HELLBOY II: THE GOLD ARMY (2008) was. I think that this was because there was a driving force - and vision - from a true auteur and was a perfect combination of material and artistic staff - including Ron Perlman in the title role.
This version of HELLBOY has none of that. No vision, no driving force and a "B" performance by David Harbour in the title role. It feels like what it is - a cash grab. I blame the studio who produced this film - Summit Entertainment - for "going on the cheap" on this one.
First off, they tapped a "B Movie" Director, Neil Marshall to Direct this thing. He is known for such artistic successes as DOOMSDAY and THE DESCENT - horror flicks that were heavy on gore, short on characters and plot - and that is what he brought to this film. Why worry about characters, plot or any kind of engaging features (including Special FX) when you can show, yet again, a body getting torn apart and blood spurting all over the screen.
The studio also skimped on the performers. Instead of Perlman, Selma Blair, John Hurt and Doug Jones you get David Harbour, Daniel Dae Kim, Mila Jovovich and a sleep-walking, just give me my paycheck, Ian McShane. It's like watching the "road company" of a Broadway show. While the actors are game (with the notable exception of McShane), they are "B picture" actors, much like the Director.
And...much like the special FX. I knew, going in, that the early word on this film was not good, but that never stops me. I like to make up my own mind, so I thought I'd "pony up" for the IMAX experience to, at least, see the CGI and FX on as large a screen with as good a sound system as possible. I shouldn't have bothered, for the CGI and FX were mediocre (at best) and all the big screen and sound did was emphasize how low quality the CGI was.
And...finally...the pacing of this film is problematic, at best. This is certainly a film that was written and edited within an inch of it's life for the "short attention span" audience of today. The prevailing theory was "why linger on a plot or a character or a moment when we can quick cut to another body getting pulled in two and watch a plume of blood spurt out in a giant arc)."
There are 2 scenes in the end credits to set up the next film(s) in this series. Films that I seriously doubt will be made. If they are, I hope they pump some more money into the budget and get a creative team with some artistic vision.
A swing and a miss.
Letter Grade: C (and I'm being generous)
4 stars (out of 10) and you can take that to the Bank(ofMarquis)
I would imagine that about 90% of my readership just got what they needed out of my review with that first line and have moved on. For the rest of you, I will now explain why this reboot of HELLBOY is now the "leader in the clubhouse" for worst picture of 2019.
I was pleasantly surprised by the 2004 Guillermo del Toro helmed and written HELLBOY and was even more surprised by how good the del Toro written and helmed HELLBOY II: THE GOLD ARMY (2008) was. I think that this was because there was a driving force - and vision - from a true auteur and was a perfect combination of material and artistic staff - including Ron Perlman in the title role.
This version of HELLBOY has none of that. No vision, no driving force and a "B" performance by David Harbour in the title role. It feels like what it is - a cash grab. I blame the studio who produced this film - Summit Entertainment - for "going on the cheap" on this one.
First off, they tapped a "B Movie" Director, Neil Marshall to Direct this thing. He is known for such artistic successes as DOOMSDAY and THE DESCENT - horror flicks that were heavy on gore, short on characters and plot - and that is what he brought to this film. Why worry about characters, plot or any kind of engaging features (including Special FX) when you can show, yet again, a body getting torn apart and blood spurting all over the screen.
The studio also skimped on the performers. Instead of Perlman, Selma Blair, John Hurt and Doug Jones you get David Harbour, Daniel Dae Kim, Mila Jovovich and a sleep-walking, just give me my paycheck, Ian McShane. It's like watching the "road company" of a Broadway show. While the actors are game (with the notable exception of McShane), they are "B picture" actors, much like the Director.
And...much like the special FX. I knew, going in, that the early word on this film was not good, but that never stops me. I like to make up my own mind, so I thought I'd "pony up" for the IMAX experience to, at least, see the CGI and FX on as large a screen with as good a sound system as possible. I shouldn't have bothered, for the CGI and FX were mediocre (at best) and all the big screen and sound did was emphasize how low quality the CGI was.
And...finally...the pacing of this film is problematic, at best. This is certainly a film that was written and edited within an inch of it's life for the "short attention span" audience of today. The prevailing theory was "why linger on a plot or a character or a moment when we can quick cut to another body getting pulled in two and watch a plume of blood spurt out in a giant arc)."
There are 2 scenes in the end credits to set up the next film(s) in this series. Films that I seriously doubt will be made. If they are, I hope they pump some more money into the budget and get a creative team with some artistic vision.
A swing and a miss.
Letter Grade: C (and I'm being generous)
4 stars (out of 10) and you can take that to the Bank(ofMarquis)
Movie Metropolis (309 KP) rated Spider-Man: Homecoming (2017) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
The Marvel touch
The first thing I’m going to tell you about Spider-Man: Homecoming is that it has been gloriously undersold in its uninspiring trailers and promotional posters. In fact, most of the marketing materials shown made it look like this would be Iron Man 4 ft. Peter Parker. Thankfully that’s not the case.
The second thing I’ll tell you is that Tom Holland’s turn as Peter Parker is very good indeed. But is he better than Tobey Maguire or Andrew Garfield? Well, for that you’ll have to read on.
Still buzzing from his experiences with the Avengers in Captain America: Civil War, young Peter Parker (Tom Holland) returns home to live with his Aunt May (Marisa Tomei). Under the watchful eye of Tony Stark (Robert Downey Jr), Peter starts to embrace Spider-Man. He also tries to return to his normal life — distracted by thoughts of proving himself to be more than just a bargain basement superhero. However, when danger emerges in the shape of the Vulture (Michael Keaton), Peter must soon put his powers to the test.
Jon Watts directs not only the best Spider-Man film to date, but probably the best film to come out of the Marvel Cinematic Universe since Guardians of the Galaxy. That is by no means and easy thing to achieve, but by golly he’s done it.
The best Marvel films don’t shout about their superhero roots. By that I mean Captain America: the Winter Soldier was first and foremost a heist movie and Guardians of the Galaxy was an epic space opera. Here, Watts and his two writers turn Spider-Man: Homecoming into a cheesy, fun high-school romance and it succeeds at that beautifully.
But is it a good superhero flick? In a word, yes. The action is shot exceptionally well with very little nonsensical shaky cam, the pacing is spot on; in fact it may be one of the best films I have ever seen for pacing and the characters are all utterly believable.
Tom Holland is, without a doubt the best iteration of Peter Parker ever put to the big screen. He is the school geek that the character always should have been. Gone are Tobey Maguire’s ridiculous facial expressions and Andrew Garfield’s unrealistic ‘high school nerd’ persona.
Elsewhere, Michael Keaton avoids the Marvel villain trap and becomes the universe’s best antagonist since Loki. It would be easy for Vulture to come across ridiculous rather than menacing and Keaton gets the latter absolutely spot on. In particular, a pivotal turning point in the film’s third act is exquisitely written and truly intimidating.
It’s not all good news unfortunately. Like a broken record, I have to mention the obligatory CGI-heavy finale. Thankfully though, the story is nicely twisted to give the scenes emotional gravitas. I’m also not sold on Marisa Tomei as Aunt May, but this may come with time. And if I’m really nit-picking, there’s a little too much obvious product placement for Audi.
So, I’ve managed to get through a full review with only a small paragraph of negative points, that doesn’t happen very often. Something else that doesn’t happen very often is for me to award a film a full five stars. On this occasion however, the Marvel touch has well and truly created a corker.
https://moviemetropolis.net/2017/07/06/spider-man-homecoming-review/
The second thing I’ll tell you is that Tom Holland’s turn as Peter Parker is very good indeed. But is he better than Tobey Maguire or Andrew Garfield? Well, for that you’ll have to read on.
Still buzzing from his experiences with the Avengers in Captain America: Civil War, young Peter Parker (Tom Holland) returns home to live with his Aunt May (Marisa Tomei). Under the watchful eye of Tony Stark (Robert Downey Jr), Peter starts to embrace Spider-Man. He also tries to return to his normal life — distracted by thoughts of proving himself to be more than just a bargain basement superhero. However, when danger emerges in the shape of the Vulture (Michael Keaton), Peter must soon put his powers to the test.
Jon Watts directs not only the best Spider-Man film to date, but probably the best film to come out of the Marvel Cinematic Universe since Guardians of the Galaxy. That is by no means and easy thing to achieve, but by golly he’s done it.
The best Marvel films don’t shout about their superhero roots. By that I mean Captain America: the Winter Soldier was first and foremost a heist movie and Guardians of the Galaxy was an epic space opera. Here, Watts and his two writers turn Spider-Man: Homecoming into a cheesy, fun high-school romance and it succeeds at that beautifully.
But is it a good superhero flick? In a word, yes. The action is shot exceptionally well with very little nonsensical shaky cam, the pacing is spot on; in fact it may be one of the best films I have ever seen for pacing and the characters are all utterly believable.
Tom Holland is, without a doubt the best iteration of Peter Parker ever put to the big screen. He is the school geek that the character always should have been. Gone are Tobey Maguire’s ridiculous facial expressions and Andrew Garfield’s unrealistic ‘high school nerd’ persona.
Elsewhere, Michael Keaton avoids the Marvel villain trap and becomes the universe’s best antagonist since Loki. It would be easy for Vulture to come across ridiculous rather than menacing and Keaton gets the latter absolutely spot on. In particular, a pivotal turning point in the film’s third act is exquisitely written and truly intimidating.
It’s not all good news unfortunately. Like a broken record, I have to mention the obligatory CGI-heavy finale. Thankfully though, the story is nicely twisted to give the scenes emotional gravitas. I’m also not sold on Marisa Tomei as Aunt May, but this may come with time. And if I’m really nit-picking, there’s a little too much obvious product placement for Audi.
So, I’ve managed to get through a full review with only a small paragraph of negative points, that doesn’t happen very often. Something else that doesn’t happen very often is for me to award a film a full five stars. On this occasion however, the Marvel touch has well and truly created a corker.
https://moviemetropolis.net/2017/07/06/spider-man-homecoming-review/
Movie Metropolis (309 KP) rated Wonder Woman (2017) in Movies
Jun 10, 2019
DC gets it right
I’m not going to sit here and tell you that Wonder Woman is alright because it’s been directed by a woman, or that it’s the most progressive superhero film of the last decade. No, neither of those things are true.
However, the titular superhero, played superbly by Gal Gadot stars in by far the best film in the ever-expanding DC Universe – though with Suicide Squad and Batman v Superman as stablemates, that really isn’t saying much.
Before she became Wonder Woman (Gal Gadot), she was Diana, princess of the Amazons, trained to be an invincible warrior. Raised on a sheltered island paradise, Diana meets a US pilot (Chris Pine) who tells her about the conflict that’s raging in the outside world. Convinced she can stop the threat, Diana leaves her safe haven for the very first time. She fights alongside men of war and along the way discovers her true potential and her destiny.
So, let’s get the elephant in the room out of the way first. Director Patty Jenkins is one of the only women to have helmed a big summer blockbuster. Mimi Leder crafted Deep Impact back in 1998 and since then, female directors have been few and far between with Kathryn Bigelow being a notable exception. The gravitas of this cannot be understated.
How does the cast do? Well, it’s a story of two halves. Gal Gadot has proven herself in Batman v Superman and with a full film behind her, she is exceptional. It’s almost impossible to now think of anyone better suited to playing the titular character. Chris Pine is fine but he’s in the film far too much – not really his fault, but a superhero sidekick is usually relegated to a few witty one-liners rather than a fully-fledged supporting role.
The villains on the other hand are absolute garbage. Danny Huston hams it up as a German general and Elena Anaya’s portrayal of “Dr Poison” aiming to ramp up the war effort with the introduction of mustard gas is little to no use to the plot. The introduction of another villainous character towards the film’s climax also fails to lift the offering.
But what about the special effects? You guessed it, it’s 50/50. The sequences of Wonder Woman braving No Man’s Land are stunning, especially with the now instantly recognisable theme tune playing in the background, but this is poorly juxtaposed with some very shoddy CGI, it had me thinking of 2003’s Catwoman it was that bad.
Then the finale arrives and we’re thrown head first into the same CGI heavy ending that blights the majority of comic-book films nowadays. So, whilst it’s true that Patty Jenkins certainly knows how to shoot the action, she’s let down by cheap looking special effects.
Overall, Wonder Woman is a perfectly decent addition to the DCEU and certainly head and shoulders above its other offerings. The problem arises when we take a deeper look at Gal Gadot – she’s much, much better than the film she is in, and that’s a problem facing Ben Affleck, Henry Cavill, Will Smith, Margot Robbie… you get the picture.
Justice League, the ball is in your court.
https://moviemetropolis.net/2017/06/02/dc-gets-it-right-wonder-woman-review/
However, the titular superhero, played superbly by Gal Gadot stars in by far the best film in the ever-expanding DC Universe – though with Suicide Squad and Batman v Superman as stablemates, that really isn’t saying much.
Before she became Wonder Woman (Gal Gadot), she was Diana, princess of the Amazons, trained to be an invincible warrior. Raised on a sheltered island paradise, Diana meets a US pilot (Chris Pine) who tells her about the conflict that’s raging in the outside world. Convinced she can stop the threat, Diana leaves her safe haven for the very first time. She fights alongside men of war and along the way discovers her true potential and her destiny.
So, let’s get the elephant in the room out of the way first. Director Patty Jenkins is one of the only women to have helmed a big summer blockbuster. Mimi Leder crafted Deep Impact back in 1998 and since then, female directors have been few and far between with Kathryn Bigelow being a notable exception. The gravitas of this cannot be understated.
How does the cast do? Well, it’s a story of two halves. Gal Gadot has proven herself in Batman v Superman and with a full film behind her, she is exceptional. It’s almost impossible to now think of anyone better suited to playing the titular character. Chris Pine is fine but he’s in the film far too much – not really his fault, but a superhero sidekick is usually relegated to a few witty one-liners rather than a fully-fledged supporting role.
The villains on the other hand are absolute garbage. Danny Huston hams it up as a German general and Elena Anaya’s portrayal of “Dr Poison” aiming to ramp up the war effort with the introduction of mustard gas is little to no use to the plot. The introduction of another villainous character towards the film’s climax also fails to lift the offering.
But what about the special effects? You guessed it, it’s 50/50. The sequences of Wonder Woman braving No Man’s Land are stunning, especially with the now instantly recognisable theme tune playing in the background, but this is poorly juxtaposed with some very shoddy CGI, it had me thinking of 2003’s Catwoman it was that bad.
Then the finale arrives and we’re thrown head first into the same CGI heavy ending that blights the majority of comic-book films nowadays. So, whilst it’s true that Patty Jenkins certainly knows how to shoot the action, she’s let down by cheap looking special effects.
Overall, Wonder Woman is a perfectly decent addition to the DCEU and certainly head and shoulders above its other offerings. The problem arises when we take a deeper look at Gal Gadot – she’s much, much better than the film she is in, and that’s a problem facing Ben Affleck, Henry Cavill, Will Smith, Margot Robbie… you get the picture.
Justice League, the ball is in your court.
https://moviemetropolis.net/2017/06/02/dc-gets-it-right-wonder-woman-review/
Movie Metropolis (309 KP) rated The Snowman (2017) in Movies
Jun 10, 2019
No, not that one
Nordic noir is big business at the moment, but with the incredible scenery of the locations lending themselves perfectly to film, is there any wonder?
The Girl with the Dragon Tattoo and The Hypnotist are just a couple of movies that have fallen into this massively expanding genre.
Now, Jo Nesbø’s chilling The Snowman novel gets the silver screen treatment in a film of the same name. But can this continue the thrilling trend of whodunit novels being turned into fabulous crime dramas?For Detective Harry Hole (Michael Fassbender), the death of a young woman during the first snow of winter feels like anything but a routine homicide. His investigation leads him to “The Snowman Killer,” an elusive sociopath who continuously taunts Hole with ingeniously crafted cat-and-mouse games. As the brutal deaths show no sign of slowing, Harry teams up with a new recruit (Rebecca Ferguson) to try and lure the madman out of the shadows before it’s too late.
With Michael Fassbender at the helm, director Thomas Alfredson (Tinker Tailor Soldier Spy) manages to blend gorgeous imagery with an intriguing plot and excellent performances in a film that suffers from a couple of issues that stops it from becoming a must-see event.
These R-rated thrillers are ten-a-penny these days with the bar still being set incredibly high by Gone Girl. Last year’s Girl on the Train was a decent stab at dethroning David Fincher’s masterpiece, but it just fell a little short – well the same has happened here.
Michael Fassbender is uniformly excellent as troubled detective, Harry and the actor can do no wrong in his performances, but he’s suffered this year. After Assassin’s Creed failed to ignite the box-office, it looks to be a similar story this time. While The Snowman is technically competent and filmed beautifully, it lacks the sense of originality that breeds success.
It also doesn’t help that he’s surrounded by thinly padded supporting characters like former love interest Rakel (Charlotte Gainsbourg) and new police officer Katrine (Ferguson). Elsewhere, bizarre glorified cameos for Val Kilmer and Toby Jones leave you wondering if these actors expected a little more from their parts.
Perhaps I’m being a little harsh. After all, the cast is one of the film’s strongest suits. Add J.K. Simmons to the aforementioned roster and it really does have one of the best line-ups of the year. It’s just a shame the script doesn’t do more with them.
To look at, The Snowman is absolutely gorgeous. Helped obviously by magnificent Norwegian landscapes, Alfredson shoots using steady cam in scenes reminiscent of Stanley Kubrick’s The Shining, high praise indeed. In a year populated by CGI-heavy blockbusters, this comes as a real breath of fresh air.
Unfortunately, the constant use of flashbacks and a peculiar subplot involving a Winter sporting event ruin the pacing, though at 130 minutes, this isn’t too much of an issue. The ending however, is disappointing and lacks an emotional payoff after the film’s events.
Overall, The Snowman is a gritty adaptation of Jo Nesbø’s successful novel and while some of the plot choices leave a little to be desired, a great anchor performance by Michael Fassbender and stunning cinematography mean it’s definitely worth a watch; just don’t expect too much.
https://moviemetropolis.net/2017/10/14/the-snowman-review/
The Girl with the Dragon Tattoo and The Hypnotist are just a couple of movies that have fallen into this massively expanding genre.
Now, Jo Nesbø’s chilling The Snowman novel gets the silver screen treatment in a film of the same name. But can this continue the thrilling trend of whodunit novels being turned into fabulous crime dramas?For Detective Harry Hole (Michael Fassbender), the death of a young woman during the first snow of winter feels like anything but a routine homicide. His investigation leads him to “The Snowman Killer,” an elusive sociopath who continuously taunts Hole with ingeniously crafted cat-and-mouse games. As the brutal deaths show no sign of slowing, Harry teams up with a new recruit (Rebecca Ferguson) to try and lure the madman out of the shadows before it’s too late.
With Michael Fassbender at the helm, director Thomas Alfredson (Tinker Tailor Soldier Spy) manages to blend gorgeous imagery with an intriguing plot and excellent performances in a film that suffers from a couple of issues that stops it from becoming a must-see event.
These R-rated thrillers are ten-a-penny these days with the bar still being set incredibly high by Gone Girl. Last year’s Girl on the Train was a decent stab at dethroning David Fincher’s masterpiece, but it just fell a little short – well the same has happened here.
Michael Fassbender is uniformly excellent as troubled detective, Harry and the actor can do no wrong in his performances, but he’s suffered this year. After Assassin’s Creed failed to ignite the box-office, it looks to be a similar story this time. While The Snowman is technically competent and filmed beautifully, it lacks the sense of originality that breeds success.
It also doesn’t help that he’s surrounded by thinly padded supporting characters like former love interest Rakel (Charlotte Gainsbourg) and new police officer Katrine (Ferguson). Elsewhere, bizarre glorified cameos for Val Kilmer and Toby Jones leave you wondering if these actors expected a little more from their parts.
Perhaps I’m being a little harsh. After all, the cast is one of the film’s strongest suits. Add J.K. Simmons to the aforementioned roster and it really does have one of the best line-ups of the year. It’s just a shame the script doesn’t do more with them.
To look at, The Snowman is absolutely gorgeous. Helped obviously by magnificent Norwegian landscapes, Alfredson shoots using steady cam in scenes reminiscent of Stanley Kubrick’s The Shining, high praise indeed. In a year populated by CGI-heavy blockbusters, this comes as a real breath of fresh air.
Unfortunately, the constant use of flashbacks and a peculiar subplot involving a Winter sporting event ruin the pacing, though at 130 minutes, this isn’t too much of an issue. The ending however, is disappointing and lacks an emotional payoff after the film’s events.
Overall, The Snowman is a gritty adaptation of Jo Nesbø’s successful novel and while some of the plot choices leave a little to be desired, a great anchor performance by Michael Fassbender and stunning cinematography mean it’s definitely worth a watch; just don’t expect too much.
https://moviemetropolis.net/2017/10/14/the-snowman-review/
Movie Metropolis (309 KP) rated Ghost in the Shell (2017) in Movies
Jun 10, 2019
Turning the beloved Ghost in the Shell manga franchise into a Hollywood film that’ll please picky Western audiences was always going to be a tough job for director Rupert Sanders (Snow White & the Huntsman).
Casting the central lead, The Major, proved even more difficult. When Scarlett Johansson’s name was attached to play the role, Hollywood was once again accused of white-washing, a tag lobbied at Gods of Egypt last year. The finished product is now in cinemas around the globe, but is it the disaster many predicted?
In the near future, Major (Scarlett Johansson) is the first of her kind: a human who has been cyber-enhanced to create a perfect soldier devoted to stopping the world’s most dangerous criminals. When terrorism reaches a new level that includes the ability to hack into people’s minds and control them, Major is uniquely qualified to stop it. As she prepares to face a new enemy, Major finds truths about her past that changes her view on the world forever.
The greatest accolade that can be given to Ghost in the Shell is that its pre-release detractors haven’t stopped people from going to see it. The cinema was busy on its opening night, with many itching to see how such a universally loved manga could be fine-tuned for a Western palate.
Visually; the film is absolutely stunning and is best viewed on the biggest screen possible. Each frame is dripping with detail and the naturally heavy use of CGI doesn’t detract from creating a vibrant metropolis that feels every bit alive.
The story is simple to follow and easy to enjoy. It’s exciting, emotional and boosted by a fine, if slightly uninspiring performance from Johansson. The rest of the cast can also be described as fine, with only Juliette Binoche’s mother-like Dr. Ouélet creating any sort of lasting impact.
And this is Ghost in the Shell’s fundamental weakness. Outside of Binoche, the rest of the cast are largely forgettable and that’s a real shame considering the characters in its excellent source material were, for want of a better word, magical. Even the villain is devoid any sort of tyranny.
Thankfully though, the impressive set design and well-choreographed action sequences mask the disappointing array of characters well and steamroll this thrilling adventure to a very satisfying conclusion. It’s also accompanied by a gorgeous soundtrack by Clint Mansell and Lorne Balfe that compliments the futuristic nature of the film beautifully.
Sitting in the theatre, it felt at times like I was watching an updated version of Total Recall, and that’s no bad thing. Comparing it to a cult classic is probably what director Rupert Sanders was trying to achieve and despite its poor characters, Ghost in the Shell has every opportunity to succeed as a film we look back on in 30 years and think “hey, that’s actually pretty good”.
Overall, Ghost in the Shell is one hell of a good-looking film. Couple this with impressive special effects and a rollercoaster ride of a story and you have a big screen experience that’s great for 106 minutes, but probably won’t have any lasting impact once the end credits roll.
https://moviemetropolis.net/2017/03/31/not-without-its-faults-ghost-in-the-shell-review/
Casting the central lead, The Major, proved even more difficult. When Scarlett Johansson’s name was attached to play the role, Hollywood was once again accused of white-washing, a tag lobbied at Gods of Egypt last year. The finished product is now in cinemas around the globe, but is it the disaster many predicted?
In the near future, Major (Scarlett Johansson) is the first of her kind: a human who has been cyber-enhanced to create a perfect soldier devoted to stopping the world’s most dangerous criminals. When terrorism reaches a new level that includes the ability to hack into people’s minds and control them, Major is uniquely qualified to stop it. As she prepares to face a new enemy, Major finds truths about her past that changes her view on the world forever.
The greatest accolade that can be given to Ghost in the Shell is that its pre-release detractors haven’t stopped people from going to see it. The cinema was busy on its opening night, with many itching to see how such a universally loved manga could be fine-tuned for a Western palate.
Visually; the film is absolutely stunning and is best viewed on the biggest screen possible. Each frame is dripping with detail and the naturally heavy use of CGI doesn’t detract from creating a vibrant metropolis that feels every bit alive.
The story is simple to follow and easy to enjoy. It’s exciting, emotional and boosted by a fine, if slightly uninspiring performance from Johansson. The rest of the cast can also be described as fine, with only Juliette Binoche’s mother-like Dr. Ouélet creating any sort of lasting impact.
And this is Ghost in the Shell’s fundamental weakness. Outside of Binoche, the rest of the cast are largely forgettable and that’s a real shame considering the characters in its excellent source material were, for want of a better word, magical. Even the villain is devoid any sort of tyranny.
Thankfully though, the impressive set design and well-choreographed action sequences mask the disappointing array of characters well and steamroll this thrilling adventure to a very satisfying conclusion. It’s also accompanied by a gorgeous soundtrack by Clint Mansell and Lorne Balfe that compliments the futuristic nature of the film beautifully.
Sitting in the theatre, it felt at times like I was watching an updated version of Total Recall, and that’s no bad thing. Comparing it to a cult classic is probably what director Rupert Sanders was trying to achieve and despite its poor characters, Ghost in the Shell has every opportunity to succeed as a film we look back on in 30 years and think “hey, that’s actually pretty good”.
Overall, Ghost in the Shell is one hell of a good-looking film. Couple this with impressive special effects and a rollercoaster ride of a story and you have a big screen experience that’s great for 106 minutes, but probably won’t have any lasting impact once the end credits roll.
https://moviemetropolis.net/2017/03/31/not-without-its-faults-ghost-in-the-shell-review/
Movie Metropolis (309 KP) rated The Mummy (2017) in Movies
Jun 10, 2019
A new franchise is reborn
It seems that the Marvel Cinematic Universe has kicked off a trend over in tinseltown. Shared franchises are all the rage at the moment, and why not. Marvel has taken over $10billion. DC has finally found its footing with Wonder Woman and Legendary are fusing Godzilla with Kong: Skull Island to create their own monster universe.
But for every success story there is a failed series that didn’t quite grab the cinema-going public with The Golden Compass and The Last Airbender immediately springing to mind. Nevertheless, Universal Pictures has pushed ahead with creating its own ‘Dark Universe’. Proceedings kick off with The Mummy. But how does this reboot fare?
Nick Morton (Tom Cruise) is a soldier of fortune who plunders ancient sites for timeless artefacts and sells them to the highest bidder. When Nick and his partner (Jake Johnson) come under attack in the Middle East, the ensuing battle accidentally unearths Ahmanet, a betrayed Egyptian princess (Sofia Boutella) who was entombed under the desert for thousands of years. With her powers constantly evolving, Morton must now stop the resurrected monster as she embarks on a furious rampage through the streets of London.
First-time director and long-time screenwriter Alex Kurtzman crafts a film that moves at breakneck speed, features a lot of nifty set-pieces and is an intriguing precursor to the next instalment of the franchise. It’s pretty good fun to be honest.
Tom Cruise is as reliable as ever, and does all the Tom Cruise staples; running, heavy breathing, shirtless preening, but the stand-out performance here is Russell Crowe’s Dr. Henry Jekyll (yes, that’s right). Despite being slightly underused, Crowe is a fantastic choice to play this multi-layered character. Elsewhere, Sofia Boutella is very good as Ahmanet.
Unfortunately, Jake Johnson (Jurassic World) and Cruise’s love interest Annabelle Wallis (King Arthur: Legend of the Sword) feel miscast with Wallis in particular having no believable chemistry with her co-star.
To look at The Mummy is first-rate. Gone are the campy special effects of the Brendan Fraser-era films, instead replaced with crisp CGI – though the dark and gloomy filming style hampers the obviously great effects. Nevertheless, the aircraft and subsequent crash sequences that have been marketed in the trailers are gripping and produced very well indeed.
Unfortunately, The Mummy relies heavily on jump scares, of which there are far too many, and the trade-off for that rollercoaster pace is a film that feels disjointed, relying on visually stunning action sequences to cover over cracks in the story. Some of the humour also falls flat.
Ultimately though, these are small gripes in a vastly entertaining popcorn flick that is a very solid starting point to a series that will include films like The Invisible Man, Bride of Frankenstein and The Wolfman.
Whilst not the most original film you will see this year, The Mummy opens up some intriguing doors and whilst I’m in no rush to see it again, despite its competence, I’m excited to see how Universal will bring all of their iconic monsters back to the big screen in one unified franchise.
https://moviemetropolis.net/2017/06/10/a-new-franchise-is-reborn-the-mummy-review/
But for every success story there is a failed series that didn’t quite grab the cinema-going public with The Golden Compass and The Last Airbender immediately springing to mind. Nevertheless, Universal Pictures has pushed ahead with creating its own ‘Dark Universe’. Proceedings kick off with The Mummy. But how does this reboot fare?
Nick Morton (Tom Cruise) is a soldier of fortune who plunders ancient sites for timeless artefacts and sells them to the highest bidder. When Nick and his partner (Jake Johnson) come under attack in the Middle East, the ensuing battle accidentally unearths Ahmanet, a betrayed Egyptian princess (Sofia Boutella) who was entombed under the desert for thousands of years. With her powers constantly evolving, Morton must now stop the resurrected monster as she embarks on a furious rampage through the streets of London.
First-time director and long-time screenwriter Alex Kurtzman crafts a film that moves at breakneck speed, features a lot of nifty set-pieces and is an intriguing precursor to the next instalment of the franchise. It’s pretty good fun to be honest.
Tom Cruise is as reliable as ever, and does all the Tom Cruise staples; running, heavy breathing, shirtless preening, but the stand-out performance here is Russell Crowe’s Dr. Henry Jekyll (yes, that’s right). Despite being slightly underused, Crowe is a fantastic choice to play this multi-layered character. Elsewhere, Sofia Boutella is very good as Ahmanet.
Unfortunately, Jake Johnson (Jurassic World) and Cruise’s love interest Annabelle Wallis (King Arthur: Legend of the Sword) feel miscast with Wallis in particular having no believable chemistry with her co-star.
To look at The Mummy is first-rate. Gone are the campy special effects of the Brendan Fraser-era films, instead replaced with crisp CGI – though the dark and gloomy filming style hampers the obviously great effects. Nevertheless, the aircraft and subsequent crash sequences that have been marketed in the trailers are gripping and produced very well indeed.
Unfortunately, The Mummy relies heavily on jump scares, of which there are far too many, and the trade-off for that rollercoaster pace is a film that feels disjointed, relying on visually stunning action sequences to cover over cracks in the story. Some of the humour also falls flat.
Ultimately though, these are small gripes in a vastly entertaining popcorn flick that is a very solid starting point to a series that will include films like The Invisible Man, Bride of Frankenstein and The Wolfman.
Whilst not the most original film you will see this year, The Mummy opens up some intriguing doors and whilst I’m in no rush to see it again, despite its competence, I’m excited to see how Universal will bring all of their iconic monsters back to the big screen in one unified franchise.
https://moviemetropolis.net/2017/06/10/a-new-franchise-is-reborn-the-mummy-review/
Movie Metropolis (309 KP) rated Allegiant (2016) in Movies
Jun 11, 2019
A+ for effort
I think it’s probably fair to say that the Young Adult genre has become oversaturated due to the phenomenal success of The Hunger Games. Since coming to a slightly underwhelming conclusion last year, many new franchises have its crown firmly in their sights.
The Maze Runner was a muddled first outing with the second, Scorch Trials faring much better and the same can be said for the Divergent series. The first film was at times, an incomprehensible mess, while its follow-up, Insurgent was a thrilling if CGI-heavy and overlong affair.
Allegiant marks the first of two films ending the moderately successful series, with Ascendant being released in June next year. But does this split conclusion harm it as much as it did for Mockingjay?
Allegiant picks up immediately after the end of its predecessor with Tris Prior (Shailene Woodley), her lover Four (Theo James) and a group of friends leaving their once safe-haven of a post-apocalyptic Chicago in order to find a world beyond the wall, populated by others once thought forgotten. What ensues will change their lives forever.
The cast is on form in this instalment with Woodley growing into the role perfectly. It’s true that she’s no Jennifer Lawrence, and many would see her as a budget Katniss Everdeen, but she plays the character with a confidence only matched by her rival in the genre. Theo James gets a much larger role here too, and this is welcome, given his pivotal part in the novels.
Elsewhere, Naomi Watts does her best Julianne Moore impression and clearly watched the latter’s performance in Mockingjay to prepare for an incredibly similar role. Jeff Daniels is a nice addition as the Bureau of Genetic Welfare’s leader, David, though again, his acting prowess feels a little wasted.
Robert Schwentke directs the film with a unique colour palate and visual flair. Scenes “beyond the wall” are stunning and glisten with a red lick of paint, a welcome change from the staid, grey and blue many directors continue to use in blockbusters. It’s very Total Recall-esque in these sequences and better for it.
Unfortunately, once the plucky group of teens leave the Martian-like “Fringe” behind, the CGI kicks up a gear. This is where things start to unravel somewhat and Schwentke throws effect upon effect at the screen until there is hardly any realism left. On the whole, they’re pretty decent, but there are a few lapses that stop the film dead in its tracks, especially towards the cliff-hanger conclusion.
It’s also far too long. Much like Mockingjay, splitting the final book was an exercise in cash-grabbing rather than giving fans of the novels what they want. At over two hours in length, Allegiant drags in places and means the final film, as a whole, will be around four hours.
Nevertheless, there is much to enjoy here. The story for newcomers is incomprehensible and some of the dialogue is downright laughable, but for those of us continuing the saga, it’s an epic adventure with some cracking visuals, good acting and an intriguing plot – despite a few convoluted moments.
Overall, Allegiant is a film hampered by its timing. The similarities to The Hunger Games are obvious throughout, from exactly the same dialogue in certain scenes, to similar sets and similar casting decisions. But, if you can forget all that, it’s a fun, if overlong ride
https://moviemetropolis.net/2016/03/13/a-for-effort-divergent-allegiant-review/
The Maze Runner was a muddled first outing with the second, Scorch Trials faring much better and the same can be said for the Divergent series. The first film was at times, an incomprehensible mess, while its follow-up, Insurgent was a thrilling if CGI-heavy and overlong affair.
Allegiant marks the first of two films ending the moderately successful series, with Ascendant being released in June next year. But does this split conclusion harm it as much as it did for Mockingjay?
Allegiant picks up immediately after the end of its predecessor with Tris Prior (Shailene Woodley), her lover Four (Theo James) and a group of friends leaving their once safe-haven of a post-apocalyptic Chicago in order to find a world beyond the wall, populated by others once thought forgotten. What ensues will change their lives forever.
The cast is on form in this instalment with Woodley growing into the role perfectly. It’s true that she’s no Jennifer Lawrence, and many would see her as a budget Katniss Everdeen, but she plays the character with a confidence only matched by her rival in the genre. Theo James gets a much larger role here too, and this is welcome, given his pivotal part in the novels.
Elsewhere, Naomi Watts does her best Julianne Moore impression and clearly watched the latter’s performance in Mockingjay to prepare for an incredibly similar role. Jeff Daniels is a nice addition as the Bureau of Genetic Welfare’s leader, David, though again, his acting prowess feels a little wasted.
Robert Schwentke directs the film with a unique colour palate and visual flair. Scenes “beyond the wall” are stunning and glisten with a red lick of paint, a welcome change from the staid, grey and blue many directors continue to use in blockbusters. It’s very Total Recall-esque in these sequences and better for it.
Unfortunately, once the plucky group of teens leave the Martian-like “Fringe” behind, the CGI kicks up a gear. This is where things start to unravel somewhat and Schwentke throws effect upon effect at the screen until there is hardly any realism left. On the whole, they’re pretty decent, but there are a few lapses that stop the film dead in its tracks, especially towards the cliff-hanger conclusion.
It’s also far too long. Much like Mockingjay, splitting the final book was an exercise in cash-grabbing rather than giving fans of the novels what they want. At over two hours in length, Allegiant drags in places and means the final film, as a whole, will be around four hours.
Nevertheless, there is much to enjoy here. The story for newcomers is incomprehensible and some of the dialogue is downright laughable, but for those of us continuing the saga, it’s an epic adventure with some cracking visuals, good acting and an intriguing plot – despite a few convoluted moments.
Overall, Allegiant is a film hampered by its timing. The similarities to The Hunger Games are obvious throughout, from exactly the same dialogue in certain scenes, to similar sets and similar casting decisions. But, if you can forget all that, it’s a fun, if overlong ride
https://moviemetropolis.net/2016/03/13/a-for-effort-divergent-allegiant-review/