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Movie Metropolis (309 KP) rated Suicide Squad (2016) in Movies
Jun 10, 2019
Yet another missfire
It’s hard to remember such a lacklustre summer blockbuster season. From unnecessary sequels to underwhelming novel adaptations, it’s been one disappointment after another.
After the criticism of spring’s Batman v Superman, DC Comics and Warner Bros. really needed a hit on their hands if they were to compete with the Marvel Cinematic Universe. Suicide Squad is their answer, but after an exhaustive marketing campaign, is the final product any good?
To be frank, not really. Director David Ayer has one of the best ensemble casts in years, but wastes them in a film as loud as any Transformers movie, and about as clever as one too.
Figuring they’re all expendable, a U.S. intelligence officer (Viola Davis) decides to assemble a team of dangerous, incarcerated supervillains for a top-secret mission. Now armed with government weapons, Deadshot (Will Smith), Harley Quinn (Margot Robbie), Captain Boomerang (Jai Courtney), Killer Croc and other despicable inmates must learn to work together. Dubbed Task Force X, the criminals unite to battle a mysterious and powerful entity, while the diabolical Joker (Jared Leto) launches an evil agenda of his own.
From the outset, you can tell Suicide Squad isn’t going to waste time with lengthy introductions to its main characters, and this is a breath of fresh air. It gets around this stumbling block in stylish ease as each villain is given his or her own 3 minute backstory, with nifty graphics completing the sequences.
It’s a pleasing start to a film that promised so much in its trailers, but things really start to go downhill from there as our characters are forced to muscle their way through countless faceless enemies, culminating in a derivative battle against, you guessed it, more dull enemies. It’s almost like watching a third-person video game taking place on a massive screen.
Nevertheless, the cast does well with the material they’re given. Will Smith is his ever-likeable self and channels Deadshot from the source material with flair. However, the film really belongs to Margot Robbie and Jared Leto. Their performances are spot on, with Robbie in particular being the film’s ray of sunshine. Leto’s Joker is unfortunately not given anywhere near enough screen time despite the film’s two hour length.
The soundtrack is fantastic. Boasting Eminem, Grace and Panic at the Disco, it’s a pleasant distraction from the at times incomprehensible mayhem taking place on screen.
Special effects wise, Suicide Squad is fine, if a little uninspiring. The editing and cinematography are very clever indeed but the CGI goes from great to poor in a heartbeat. Considering the film’s $175million budget, this is completely unacceptable.
Overall, Suicide Squad promised us so much and has delivered relatively little. Drawing from the exceptional DC Universe, audiences could’ve had a film completely different from the slew of superhero films we are constantly blighted with these days. Instead, we’ve been given one of the most generic yet and it continues 2016’s trend as one of the worst summer blockbuster seasons in recent memory.
https://moviemetropolis.net/2016/08/08/yet-another-misfire-suicide-squad-review/
After the criticism of spring’s Batman v Superman, DC Comics and Warner Bros. really needed a hit on their hands if they were to compete with the Marvel Cinematic Universe. Suicide Squad is their answer, but after an exhaustive marketing campaign, is the final product any good?
To be frank, not really. Director David Ayer has one of the best ensemble casts in years, but wastes them in a film as loud as any Transformers movie, and about as clever as one too.
Figuring they’re all expendable, a U.S. intelligence officer (Viola Davis) decides to assemble a team of dangerous, incarcerated supervillains for a top-secret mission. Now armed with government weapons, Deadshot (Will Smith), Harley Quinn (Margot Robbie), Captain Boomerang (Jai Courtney), Killer Croc and other despicable inmates must learn to work together. Dubbed Task Force X, the criminals unite to battle a mysterious and powerful entity, while the diabolical Joker (Jared Leto) launches an evil agenda of his own.
From the outset, you can tell Suicide Squad isn’t going to waste time with lengthy introductions to its main characters, and this is a breath of fresh air. It gets around this stumbling block in stylish ease as each villain is given his or her own 3 minute backstory, with nifty graphics completing the sequences.
It’s a pleasing start to a film that promised so much in its trailers, but things really start to go downhill from there as our characters are forced to muscle their way through countless faceless enemies, culminating in a derivative battle against, you guessed it, more dull enemies. It’s almost like watching a third-person video game taking place on a massive screen.
Nevertheless, the cast does well with the material they’re given. Will Smith is his ever-likeable self and channels Deadshot from the source material with flair. However, the film really belongs to Margot Robbie and Jared Leto. Their performances are spot on, with Robbie in particular being the film’s ray of sunshine. Leto’s Joker is unfortunately not given anywhere near enough screen time despite the film’s two hour length.
The soundtrack is fantastic. Boasting Eminem, Grace and Panic at the Disco, it’s a pleasant distraction from the at times incomprehensible mayhem taking place on screen.
Special effects wise, Suicide Squad is fine, if a little uninspiring. The editing and cinematography are very clever indeed but the CGI goes from great to poor in a heartbeat. Considering the film’s $175million budget, this is completely unacceptable.
Overall, Suicide Squad promised us so much and has delivered relatively little. Drawing from the exceptional DC Universe, audiences could’ve had a film completely different from the slew of superhero films we are constantly blighted with these days. Instead, we’ve been given one of the most generic yet and it continues 2016’s trend as one of the worst summer blockbuster seasons in recent memory.
https://moviemetropolis.net/2016/08/08/yet-another-misfire-suicide-squad-review/
Movie Metropolis (309 KP) rated The Lego Batman Movie (2017) in Movies
Jun 11, 2019
All Hail the Bricks
LEGO may have just single-handedly saved the DC Universe. Yep, you heard me right; the construction toy has come to the aid of one of the comic-book heavyweights in spectacular fashion.
Of course, this is not the first time the world’s biggest toy company has released a film. 2014’s LEGO Movie catapulted the popular bricks into the minds of more people than ever before, it was an astounding success, and deserved every inch.
Now, they’re back with The LEGO Batman Movie, a film with so many side jokes and movie references, it’s impossible to spot them all the first time around.
There are some big changes brewing in the city of Gotham, but if Batman (Will Arnett) wants to save the city from the Joker’s (Zach Galifianakis) hostile takeover, he may have to drop the lone vigilante shtick, try to work with others and perhaps, learn to lighten up; if that’s humanly possible. Maybe his superhero sidekick Robin (voiced by Michael Cera) and loyal butler Alfred (played by Ralph Fiennes) can show him a thing or two?
After depressing cinema-goers with Batman v Superman: Dawn of Justice and the studio interference that caused Suicide Squad to be a hideous mess (which is referenced in the flick marvellously), DC was in serious trouble – its universe was unravelling before it had even got going. Marvel certainly had nothing to worry about from its biggest rival, but that may have changed after this.
Everything from the voice acting to the ridiculously dry script and exceptional animation makes The LEGO Batman Movie a treat for children and adults. There are references to: get ready… Jurassic Park, Harry Potter, Doctor Who, Gremlins, The Lord of the Rings and every single Batman film to name but a few, all expertly placed within a story that betters any DC film before it.
The cast gels together perfectly. Will Arnett clearly had a ball playing the caped crusader, channelling Ben Affleck and Christian Bale flawlessly. Michael Cera gives his best performance in years and Ralph Fiennes is great as Alfred. Would you believe me if I said Mariah Carey even got in on the action? Well, she does. There are small roles for Channing Tatum, Jonah Hill and Eddie Izzard too.
Elsewhere, the animation is of course, blocky. Beautifully so in fact. It’s always exciting seeing individual locations transformed into LEGO and Gotham is no exception. It’s rendered to an exquisite standard with each and every frame stuffed to the brim with colour and detail. The music is also a highlight throughout with Lorne Balfe’s faithful score juxtaposed with some original songs and classic pop hits.
Overall, The LEGO Batman Movie was always going to be a gamble, but perhaps less of a risk considering the low quality of DC’s current crop of films. With some great animation, a genuinely funny and at times heart-warming story and a cast that works together incredibly well, it’s a cracking addition to the ever-expanding superhero genre.
https://moviemetropolis.net/2017/02/11/all-hail-the-bricks-the-lego-batman-movie-review/
Of course, this is not the first time the world’s biggest toy company has released a film. 2014’s LEGO Movie catapulted the popular bricks into the minds of more people than ever before, it was an astounding success, and deserved every inch.
Now, they’re back with The LEGO Batman Movie, a film with so many side jokes and movie references, it’s impossible to spot them all the first time around.
There are some big changes brewing in the city of Gotham, but if Batman (Will Arnett) wants to save the city from the Joker’s (Zach Galifianakis) hostile takeover, he may have to drop the lone vigilante shtick, try to work with others and perhaps, learn to lighten up; if that’s humanly possible. Maybe his superhero sidekick Robin (voiced by Michael Cera) and loyal butler Alfred (played by Ralph Fiennes) can show him a thing or two?
After depressing cinema-goers with Batman v Superman: Dawn of Justice and the studio interference that caused Suicide Squad to be a hideous mess (which is referenced in the flick marvellously), DC was in serious trouble – its universe was unravelling before it had even got going. Marvel certainly had nothing to worry about from its biggest rival, but that may have changed after this.
Everything from the voice acting to the ridiculously dry script and exceptional animation makes The LEGO Batman Movie a treat for children and adults. There are references to: get ready… Jurassic Park, Harry Potter, Doctor Who, Gremlins, The Lord of the Rings and every single Batman film to name but a few, all expertly placed within a story that betters any DC film before it.
The cast gels together perfectly. Will Arnett clearly had a ball playing the caped crusader, channelling Ben Affleck and Christian Bale flawlessly. Michael Cera gives his best performance in years and Ralph Fiennes is great as Alfred. Would you believe me if I said Mariah Carey even got in on the action? Well, she does. There are small roles for Channing Tatum, Jonah Hill and Eddie Izzard too.
Elsewhere, the animation is of course, blocky. Beautifully so in fact. It’s always exciting seeing individual locations transformed into LEGO and Gotham is no exception. It’s rendered to an exquisite standard with each and every frame stuffed to the brim with colour and detail. The music is also a highlight throughout with Lorne Balfe’s faithful score juxtaposed with some original songs and classic pop hits.
Overall, The LEGO Batman Movie was always going to be a gamble, but perhaps less of a risk considering the low quality of DC’s current crop of films. With some great animation, a genuinely funny and at times heart-warming story and a cast that works together incredibly well, it’s a cracking addition to the ever-expanding superhero genre.
https://moviemetropolis.net/2017/02/11/all-hail-the-bricks-the-lego-batman-movie-review/
Gareth von Kallenbach (971 KP) rated Justice League (2017) in Movies
Jun 19, 2019
The long anticipated “Justice League” has finally arrived finally combining the biggest stars of the DC universe into one film. The proposed film has faced many obstacles on the way to the big screen ranging from script issues, massive reshoots and a change of Director for said reshoots due to a family tragedy that Director Zack Snyder suffered.
The film follows Batman (Ben Affleck) and Wonder Woman (Gal Godot), as they look to assemble a team of other gifted individuals to help fight off a pending invasion.
The death of Superman has left a void on the Earth, and this has paved the way for an ancient evil to return as he attempts to conquer the planet after he collects the three needed artifacts that his plan requires.
In a race against time, Batman and Wonder Woman recruit Aquaman (Jason Momoa), The Flash (Ezra Miller), and Cyborg (Ray Fisher), to battle to save the planet. Naturally they battle amongst themselves as well as their massing enemies but ultimately decide on a dangerous plan that can tip the odds in their favor and save the day.
The action in the film is good but it often plays out like a video game. With so many blatantly obvious CGI backgrounds, the movie looked like a video game. There were numerous scenes that looked like they were lifted from Injustice and Injustice 2 that I mused to myself that someone must have used their Power Up for the shot.
Affleck and Gadot are good and work well with one another, but there are some serious casting issues with the film. The biggest for me was Ezra Miller as The Flash. I did not like his effeminate, nerdy, socially awkward, and neurotic and at times cowardly take on the character. This is not the Barry Allen I grew up reading in comics or the one that has been portrayed twice in a much better fashion on television. His comic relief status grew old fast and his character really offered little to the film.
It has been well-documented that Joss Whedon not only handled the rewrites for the film but took over directing duties to complete the film. You can see elements of his humor scattered throughout and the film does move along at a steady pace without dragging.
The biggest issue is that so many of the characters are just stiff and one-dimensional. They really are not overly interesting so it is hard to really connect with them and the tasks they are facing. Unlike Marvel who have excelled with dysfunctional groups who fight amongst themselves as well as the forces of evil, this group seems to be going through the paces rather than being fully engaged with the task at hand and each other.
In the end “Justice League” is better than I expected, and the two bonus scenes in the credits show some interesting potential down the road. As it is, it is flawed entertainment that requires audiences to overlook a lot of issues.
http://sknr.net/2017/11/15/justice-league/
The film follows Batman (Ben Affleck) and Wonder Woman (Gal Godot), as they look to assemble a team of other gifted individuals to help fight off a pending invasion.
The death of Superman has left a void on the Earth, and this has paved the way for an ancient evil to return as he attempts to conquer the planet after he collects the three needed artifacts that his plan requires.
In a race against time, Batman and Wonder Woman recruit Aquaman (Jason Momoa), The Flash (Ezra Miller), and Cyborg (Ray Fisher), to battle to save the planet. Naturally they battle amongst themselves as well as their massing enemies but ultimately decide on a dangerous plan that can tip the odds in their favor and save the day.
The action in the film is good but it often plays out like a video game. With so many blatantly obvious CGI backgrounds, the movie looked like a video game. There were numerous scenes that looked like they were lifted from Injustice and Injustice 2 that I mused to myself that someone must have used their Power Up for the shot.
Affleck and Gadot are good and work well with one another, but there are some serious casting issues with the film. The biggest for me was Ezra Miller as The Flash. I did not like his effeminate, nerdy, socially awkward, and neurotic and at times cowardly take on the character. This is not the Barry Allen I grew up reading in comics or the one that has been portrayed twice in a much better fashion on television. His comic relief status grew old fast and his character really offered little to the film.
It has been well-documented that Joss Whedon not only handled the rewrites for the film but took over directing duties to complete the film. You can see elements of his humor scattered throughout and the film does move along at a steady pace without dragging.
The biggest issue is that so many of the characters are just stiff and one-dimensional. They really are not overly interesting so it is hard to really connect with them and the tasks they are facing. Unlike Marvel who have excelled with dysfunctional groups who fight amongst themselves as well as the forces of evil, this group seems to be going through the paces rather than being fully engaged with the task at hand and each other.
In the end “Justice League” is better than I expected, and the two bonus scenes in the credits show some interesting potential down the road. As it is, it is flawed entertainment that requires audiences to overlook a lot of issues.
http://sknr.net/2017/11/15/justice-league/
Lucy Buglass (45 KP) rated Deadpool 2 (2018) in Movies
Jun 20, 2019
A surprisingly heart-warming sequel
After the success of Deadpool, it’s natural to feel apprehensive about what comes next. Will it be as good as the first? Or will it fall flat? I was excited to see the Merc with a Mouth back again, but wasn’t entirely sure what to expect. I’d thankfully managed to avoid all spoilers online, so I was excited to see what the sequel would bring to the table.
Thankfully yes – it is absolutely on par with the first, if not better. In this film we get to see a more serious, empathetic version of Wade Wilson as he’s faced with some tough experiences and decisions. Ryan Reynolds does an amazing job of portraying Wilson’s sorrow, which is far removed from what we’re used to. It certainly doesn’t take away from the film’s humour, fourth wall breaking and sarcasm, but instead adds a more complex layer to the narrative. I was surprised to find myself crying at certain points in the film due to the emotional nature. The film also parodies a lot of other films, and I’m sure on a second viewing I’ll be able to spot them all, but the ones I did catch made me laugh out loud.
I adored some of the fight scenes, including Deadpool fighting someone to Skrillex’s “Bangarang” (which has to be one of my favourite cinematic moments of 2018… so far). The soundtrack is brilliant and the use of music plays a big part in this film, effectively setting the mood whether that’s humour or sorrow. An effective soundtrack really completes a film, and I am in love with Deadpool 2’s. Not to spoil anything too much, but you’ll be greeted with the likes of George Michael, Dolly Parton and AC/DC throughout the film which is a selling point if I do say so myself.
There are so many unexpected cameos in Deadpool 2 that I won’t ruin for you, but they all brought a smile to my face and I was excited to see what each actor brought to the table! Alongside these, we see familiar faces in Colossus, Negasonic Teenage Warhead, Dopinder and Weasel who all played a huge part in the first film and reciprocate this in the sequel, as well as brand new ones in vengeful cyborg Cable, ‘lucky’ Domino and out of control mutant Russell Collins.
I was so impressed with the new characters and the way they were acted, so huge praise has to be given to Josh Brolin, Zazie Beetz and Julian Dennison for bringing such complex characters to life on screen. The dynamics between characters, old and new, is a joy to watch and everything is so well scripted throughout the film.
Deadpool 2 is a strong successor to the first, with a heartwarming overall message to tie the film up in a nice little bow. Oh, and remember to sit tight whilst the credits roll… this is a Marvel film after all!
https://lucygoestohollywood.com/2018/05/27/deadpool-2-a-surprisingly-heart-warming-sequel/
Thankfully yes – it is absolutely on par with the first, if not better. In this film we get to see a more serious, empathetic version of Wade Wilson as he’s faced with some tough experiences and decisions. Ryan Reynolds does an amazing job of portraying Wilson’s sorrow, which is far removed from what we’re used to. It certainly doesn’t take away from the film’s humour, fourth wall breaking and sarcasm, but instead adds a more complex layer to the narrative. I was surprised to find myself crying at certain points in the film due to the emotional nature. The film also parodies a lot of other films, and I’m sure on a second viewing I’ll be able to spot them all, but the ones I did catch made me laugh out loud.
I adored some of the fight scenes, including Deadpool fighting someone to Skrillex’s “Bangarang” (which has to be one of my favourite cinematic moments of 2018… so far). The soundtrack is brilliant and the use of music plays a big part in this film, effectively setting the mood whether that’s humour or sorrow. An effective soundtrack really completes a film, and I am in love with Deadpool 2’s. Not to spoil anything too much, but you’ll be greeted with the likes of George Michael, Dolly Parton and AC/DC throughout the film which is a selling point if I do say so myself.
There are so many unexpected cameos in Deadpool 2 that I won’t ruin for you, but they all brought a smile to my face and I was excited to see what each actor brought to the table! Alongside these, we see familiar faces in Colossus, Negasonic Teenage Warhead, Dopinder and Weasel who all played a huge part in the first film and reciprocate this in the sequel, as well as brand new ones in vengeful cyborg Cable, ‘lucky’ Domino and out of control mutant Russell Collins.
I was so impressed with the new characters and the way they were acted, so huge praise has to be given to Josh Brolin, Zazie Beetz and Julian Dennison for bringing such complex characters to life on screen. The dynamics between characters, old and new, is a joy to watch and everything is so well scripted throughout the film.
Deadpool 2 is a strong successor to the first, with a heartwarming overall message to tie the film up in a nice little bow. Oh, and remember to sit tight whilst the credits roll… this is a Marvel film after all!
https://lucygoestohollywood.com/2018/05/27/deadpool-2-a-surprisingly-heart-warming-sequel/
Natalia (73 KP) rated Spider-Man: Into the Spider-Verse (2018) in Movies
Dec 19, 2018
Character Development (5 more)
Story
Art Direction
Soundtrack + Effects
Comedy, Action and Emotions
True to the Source
I've just recently come home from the cinema, and I can gladly say this was an amazing film. I may be looking at it through rose-coloured glasses, with how excited I was when we got the first trailer, but I can say with all sincerity that this film made me laugh, cry and blew away my expectations.
The film crosses over some iconic and some more obscure Spider-Man universes and manages to do it in a unique and palatable way. Each iteration of Spider-Man has a specific animation/art style, along with a specific soundtrack and extremely talented voice actors (or at least actors whose voices were made for the role: this meaning John Mulaney). Seeing all of this creative work come together in one film truly is an experience that I don't want people to miss out on.
A key part I really want to go into more is the use of colour and focus. It visuals of the film are vivid and attune to the tone of what scene is playing out. You can see how saturation and the palettes themselves are used the highlight characters or actions and are especially useful with emotional scenes. These emotions though are presented more with the composition which is consistently used to call back previous scenes in a subtle way that I absolutely adore.
The characters are very much real, most specifically in Miles and his family relationships. We see a real family dynamic that works - if I could point out a scene from a few trailers as an example, when Miles' father takes him to school and asks for him to say 'I love you' back really shows this realistic family that you could picture actually existing in the real world. The lack of a really existing romantic subplot is also something I love - the focus is on coming to terms with the fact that Miles isn't alone, that no one is. Without this romance, the film is just as good as any other, possibly even better with the fact that our potential romantic interest actually doesn't turn out to be.
The next thing that is certainly huge for any die-hard Marvel fans is the fact that it's very much true to the comic books. In the way its told, the way it's presented, and the actual story, the characters are all recognizable both by appearance and by their personalities/behaviours.
The only negative I can find for the film isn't even part of the film itself: Though the cinema gave warning for epilepsy, the film itself does not. While I'm sure theatres are required to give warning, it may be a good idea to give an on-screen warning, especially when the opening logo itself could easily trigger epilepsy.
Overall, I wish I could go back and watch it over and over, so I think most people will enjoy this film, no matter what their knowledge of the MCU is. An engaging story told in a creative way and with an incredibly hilarious after credits scene - worth a watch from everyone.
The film crosses over some iconic and some more obscure Spider-Man universes and manages to do it in a unique and palatable way. Each iteration of Spider-Man has a specific animation/art style, along with a specific soundtrack and extremely talented voice actors (or at least actors whose voices were made for the role: this meaning John Mulaney). Seeing all of this creative work come together in one film truly is an experience that I don't want people to miss out on.
A key part I really want to go into more is the use of colour and focus. It visuals of the film are vivid and attune to the tone of what scene is playing out. You can see how saturation and the palettes themselves are used the highlight characters or actions and are especially useful with emotional scenes. These emotions though are presented more with the composition which is consistently used to call back previous scenes in a subtle way that I absolutely adore.
The characters are very much real, most specifically in Miles and his family relationships. We see a real family dynamic that works - if I could point out a scene from a few trailers as an example, when Miles' father takes him to school and asks for him to say 'I love you' back really shows this realistic family that you could picture actually existing in the real world. The lack of a really existing romantic subplot is also something I love - the focus is on coming to terms with the fact that Miles isn't alone, that no one is. Without this romance, the film is just as good as any other, possibly even better with the fact that our potential romantic interest actually doesn't turn out to be.
The next thing that is certainly huge for any die-hard Marvel fans is the fact that it's very much true to the comic books. In the way its told, the way it's presented, and the actual story, the characters are all recognizable both by appearance and by their personalities/behaviours.
The only negative I can find for the film isn't even part of the film itself: Though the cinema gave warning for epilepsy, the film itself does not. While I'm sure theatres are required to give warning, it may be a good idea to give an on-screen warning, especially when the opening logo itself could easily trigger epilepsy.
Overall, I wish I could go back and watch it over and over, so I think most people will enjoy this film, no matter what their knowledge of the MCU is. An engaging story told in a creative way and with an incredibly hilarious after credits scene - worth a watch from everyone.
Ryan Hill (152 KP) rated Spider-Man (2002) in Movies
Jun 30, 2019
" With great power comes great responsibility"
One of the first movies to pave the groundwork for modern superhero flicks, Spider-Man is an incredibly fun & endlessly entertaining action-adventure that brings its web-slinging hero to life on the silver screen in a truly fascinating manner after spending nearly a quarter of a century in development hell and, with its record-breaking box office performance, acts as a precursor to an era when superheroes would dominate the summer box-office.
Based on the Marvel Comics character of the same name, the story of Spider-Man follows Peter Parker; a high-school kid who after being bitten by a radioactive spider at a genetic laboratory begins to develop spider-like abilities and puts his new powers to good use by turning to crimefighting. Meanwhile, Norman Osborn experiments a power-enhancing drug on himself as a desperate attempt to preserve a military contract critical for his company's survival.
Directed by Sam Raimi, Spider-Man has all the ingredients of a summer blockbuster plus it benefits a lot from Raimi's dynamic filmmaking style that doesn't dwell on a single moment for far too long, keeps the story fresh, light-hearted & action-packed for the most part, plus never loses its initially-gained momentum. David Koepp's screenplay is no slouch either for it packs in a compelling plot & few interesting characters and the whole story is cheesy but well humoured.
The technical aspects are all brilliantly executed. Camerawork is excellent for the most part for the chosen angles, swift movements, slow-mo shots & warm colour palette are correctly employed. Editing provides a frenetic pace to its narrative, each moment has a role to play, and its 121 minutes of runtime simply flies by. Visual effects team makes use of both CGI & practical stuntwork and it's amazing just how well it has aged when compared to other effects-laden movies released back then.
Coming to the performances, Spider-Man packs in a very interesting cast in Tobey Maguire, Kirsten Dunst, James Franco, Willem Dafoe, J.K. Simmons & others, and many of them are pretty convincing in their given roles. Maguire does a terrific job under Raimi's supervision, Dafoe plays Norman Osborn with finesse but that Green Goblin suit is extremely off-putting, Simmons is a near-perfect rendition of J. Jonah Jameson from the comics while both Dunst & Franco do a fine job as Mary Jane Watson & Harry Osborn, respectively.
Also worthy of admiration is Danny Elfman's outstanding score that captures just the right tone & feel of your friendly neighbourhood Spider-Man's universe and brims with tracks that seamlessly integrate into the story. On an overall scale, Spider-Man may not seem as impressive today as it did back when it made its debut on the silver screen but it still remains one of the best offerings of its category and delivers a roller-coasted ride that's enjoyable, entertaining & highly satisfying. Spider-Man is a summer popcorn extravaganza right on the money.
Based on the Marvel Comics character of the same name, the story of Spider-Man follows Peter Parker; a high-school kid who after being bitten by a radioactive spider at a genetic laboratory begins to develop spider-like abilities and puts his new powers to good use by turning to crimefighting. Meanwhile, Norman Osborn experiments a power-enhancing drug on himself as a desperate attempt to preserve a military contract critical for his company's survival.
Directed by Sam Raimi, Spider-Man has all the ingredients of a summer blockbuster plus it benefits a lot from Raimi's dynamic filmmaking style that doesn't dwell on a single moment for far too long, keeps the story fresh, light-hearted & action-packed for the most part, plus never loses its initially-gained momentum. David Koepp's screenplay is no slouch either for it packs in a compelling plot & few interesting characters and the whole story is cheesy but well humoured.
The technical aspects are all brilliantly executed. Camerawork is excellent for the most part for the chosen angles, swift movements, slow-mo shots & warm colour palette are correctly employed. Editing provides a frenetic pace to its narrative, each moment has a role to play, and its 121 minutes of runtime simply flies by. Visual effects team makes use of both CGI & practical stuntwork and it's amazing just how well it has aged when compared to other effects-laden movies released back then.
Coming to the performances, Spider-Man packs in a very interesting cast in Tobey Maguire, Kirsten Dunst, James Franco, Willem Dafoe, J.K. Simmons & others, and many of them are pretty convincing in their given roles. Maguire does a terrific job under Raimi's supervision, Dafoe plays Norman Osborn with finesse but that Green Goblin suit is extremely off-putting, Simmons is a near-perfect rendition of J. Jonah Jameson from the comics while both Dunst & Franco do a fine job as Mary Jane Watson & Harry Osborn, respectively.
Also worthy of admiration is Danny Elfman's outstanding score that captures just the right tone & feel of your friendly neighbourhood Spider-Man's universe and brims with tracks that seamlessly integrate into the story. On an overall scale, Spider-Man may not seem as impressive today as it did back when it made its debut on the silver screen but it still remains one of the best offerings of its category and delivers a roller-coasted ride that's enjoyable, entertaining & highly satisfying. Spider-Man is a summer popcorn extravaganza right on the money.
Bob Mann (459 KP) rated The Suicide Squad (2021) in Movies
Aug 10, 2021
Anarchic and very funny script, with some great visual gags (1 more)
Elba, Davis and Robbie all great. As is new name Daniela Melchior.
What a difference a "The" makes! The original "Suicide Squad" from 2016 was a botched and lacklustre affair, getting just 5/10 from me. James Gunn's semi-reboot is hyper-violent, overlong, totally ludicrous but a whole bunch of fun.
Positives:
- "From the horribly beautiful mind of James Gunn" gushes the trailer. But in this case, they ain't kidding. The film is (at times) hugely inventive in its visual gags as well as its dialogue. On the DC/Marvel superhero spectrum, this is right up at the "Ragnarok" end in terms of comedy value. It made me guffaw a good dozen times.
- To match that, the action scenes are suitably ludicrous and over-the-top. They feature the most "out there" big-boss since Mr Stay Puft terrorised New York in the original "Ghostbusters"!
- All the cast seem to be having a blast, which carries you, as the audience, along with the fun. Both Viola Davis and Idris Elba add real gravitas at the middle of it all, but Robbie's reprise of Harley Quinn tends to get all the best lines and the most memorable sequences. Her petal-strewn decimation of a platoon of security guards is something to behold.
- But of the lesser-known names, it's Daniela Melchior who really stood out for me as Cleo Cazo - Ratcatcher 2. This appears to be the first non-Portuguese feature she's done, and a great future beckons I think. Such extraordinary screen presence! Loved her character too: a "millennial" who sleeps in and questions what an OHP is!
- Great music choices, as you would expect from the "Guardians of the Galaxy" guy.
Negatives:
- Like Polka-Dot's mum, the comedy style is all over the place! (You have to have watched the movie to understand that gag!). I guess that's true of any comedy, but a number of the jokes feel contrived and didn't fully land.
- There is just so much gratuitous violence in this one that I am frankly amazed that the BBFC awarded it only a UK "15" certificate (this is my second query in a row to the BBFC - they need to employ me!). I reckon this will prove to have the highest body count of any movie in 2021. It's all done in a comic-book style, but when "Army of the Dead" (review still to follow) gets an "18", I'm not quite sure why this is much different.
Summary Thoughts on "The Suicide Squad": I'd mentally set myself up to really hate this one. But the opposite turned out to be true. As a comedy it made me laugh like a drain at times, and although some of the violence went somewhat over the top for me, I thought it to be a fine summer popcorn blockbuster (but very much for adults).
(For the full graphical review, please check out One Mann's Movies on the web, Facebook and Tiktok. Thanks).
Positives:
- "From the horribly beautiful mind of James Gunn" gushes the trailer. But in this case, they ain't kidding. The film is (at times) hugely inventive in its visual gags as well as its dialogue. On the DC/Marvel superhero spectrum, this is right up at the "Ragnarok" end in terms of comedy value. It made me guffaw a good dozen times.
- To match that, the action scenes are suitably ludicrous and over-the-top. They feature the most "out there" big-boss since Mr Stay Puft terrorised New York in the original "Ghostbusters"!
- All the cast seem to be having a blast, which carries you, as the audience, along with the fun. Both Viola Davis and Idris Elba add real gravitas at the middle of it all, but Robbie's reprise of Harley Quinn tends to get all the best lines and the most memorable sequences. Her petal-strewn decimation of a platoon of security guards is something to behold.
- But of the lesser-known names, it's Daniela Melchior who really stood out for me as Cleo Cazo - Ratcatcher 2. This appears to be the first non-Portuguese feature she's done, and a great future beckons I think. Such extraordinary screen presence! Loved her character too: a "millennial" who sleeps in and questions what an OHP is!
- Great music choices, as you would expect from the "Guardians of the Galaxy" guy.
Negatives:
- Like Polka-Dot's mum, the comedy style is all over the place! (You have to have watched the movie to understand that gag!). I guess that's true of any comedy, but a number of the jokes feel contrived and didn't fully land.
- There is just so much gratuitous violence in this one that I am frankly amazed that the BBFC awarded it only a UK "15" certificate (this is my second query in a row to the BBFC - they need to employ me!). I reckon this will prove to have the highest body count of any movie in 2021. It's all done in a comic-book style, but when "Army of the Dead" (review still to follow) gets an "18", I'm not quite sure why this is much different.
Summary Thoughts on "The Suicide Squad": I'd mentally set myself up to really hate this one. But the opposite turned out to be true. As a comedy it made me laugh like a drain at times, and although some of the violence went somewhat over the top for me, I thought it to be a fine summer popcorn blockbuster (but very much for adults).
(For the full graphical review, please check out One Mann's Movies on the web, Facebook and Tiktok. Thanks).
BankofMarquis (1832 KP) rated 21 Bridges (2019) in Movies
Sep 22, 2020
Direction and Lead Performances elevate a "so-so" script
The world lost a tremendous talent when 44 year old Chadwick Boseman lost his battle with cancer. Whether it was as Jackie Robinson in 42, Thurgood Marshall in THURGOOD or as T'Challa/Black Panther in the Marvel movies, Boseman's charm and charisma lept off the screen and drew you into whatever project he is in.
This charm and charisma is very much in evidence in the by-the-book cops chasing robbers action flick 21 BRIDGES. As the cop chasing "the fugitive", Boseman elevates the proceedings to a level above what this average script had to offer.
Set in NYC, 21 BRIDGES tells the tale of Detective Andre Davis (Bozeman) who must chase down a couple of thieves - and cop killers - before they can escape New York. Told in one night, Davis makes the call to close the "21 Bridges" of the island of Manhattan so the bad guys are stuck on the island.
And...that's the first disappointment with this film, it doesn't do anything with that premise. Do the bad guys try to escape on one of those "21 Bridges"? Nope. The bridges are never really mentioned again...so why call this film "21 Bridges"?
What does work is Boseman's performance. His Davis is competent, honest, smart and earnest and you are drawn into his work. As is the work of the person who is thrust into the action as his partner, Vice Cop Frankie Burns (Sienna Miller). You might roll your eyes when you hear Miller's name for her early career was more about being on the tabloid pages than it was about being on the screen, but she has morphed herself - and her career - into something quite interesting through turns in films like FOXCATCHER and AMERICAN SNIPER and she is as equally interesting as Bozeman in this film. The 2 make a good pair.
The rest of the supporting cast - Taylor Kitsch, Keith David and the great J.K. Simmons - are solid, if not spectacular. But there are 2 standouts. Alexander Siddig (Dr. Bashir in STAR TREK: DEEP SPACE 9) is interesting as the "money launderer" and Stephan James (IF BEALE STREET COULD TALK) is just as charming and charismatic as Bozeman as one of the the thieves on the run. If you are looking for a young, charismatic actor to fill the hole created by Bozeman's death, James could very well fit the bill.
I've mentioned that the script by Adam Mervis and Matthew Michael Carnahan is nothing special, but what is special is the Direction by Brian Kirk (a TV Director of such shows as GAME OF THRONES and LUTHER). This is his Major Motion Picture debut (as far as I could tell) and there were some VERY interesting shots and some taught, tense moments. He'll be a director to watch in the future.
While nothing too special, 21 BRIDGES is better than "good enough" - a cops 'n robbers film that will hold your interest for the relatively quick 1 hour and 39 minute running time.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
This charm and charisma is very much in evidence in the by-the-book cops chasing robbers action flick 21 BRIDGES. As the cop chasing "the fugitive", Boseman elevates the proceedings to a level above what this average script had to offer.
Set in NYC, 21 BRIDGES tells the tale of Detective Andre Davis (Bozeman) who must chase down a couple of thieves - and cop killers - before they can escape New York. Told in one night, Davis makes the call to close the "21 Bridges" of the island of Manhattan so the bad guys are stuck on the island.
And...that's the first disappointment with this film, it doesn't do anything with that premise. Do the bad guys try to escape on one of those "21 Bridges"? Nope. The bridges are never really mentioned again...so why call this film "21 Bridges"?
What does work is Boseman's performance. His Davis is competent, honest, smart and earnest and you are drawn into his work. As is the work of the person who is thrust into the action as his partner, Vice Cop Frankie Burns (Sienna Miller). You might roll your eyes when you hear Miller's name for her early career was more about being on the tabloid pages than it was about being on the screen, but she has morphed herself - and her career - into something quite interesting through turns in films like FOXCATCHER and AMERICAN SNIPER and she is as equally interesting as Bozeman in this film. The 2 make a good pair.
The rest of the supporting cast - Taylor Kitsch, Keith David and the great J.K. Simmons - are solid, if not spectacular. But there are 2 standouts. Alexander Siddig (Dr. Bashir in STAR TREK: DEEP SPACE 9) is interesting as the "money launderer" and Stephan James (IF BEALE STREET COULD TALK) is just as charming and charismatic as Bozeman as one of the the thieves on the run. If you are looking for a young, charismatic actor to fill the hole created by Bozeman's death, James could very well fit the bill.
I've mentioned that the script by Adam Mervis and Matthew Michael Carnahan is nothing special, but what is special is the Direction by Brian Kirk (a TV Director of such shows as GAME OF THRONES and LUTHER). This is his Major Motion Picture debut (as far as I could tell) and there were some VERY interesting shots and some taught, tense moments. He'll be a director to watch in the future.
While nothing too special, 21 BRIDGES is better than "good enough" - a cops 'n robbers film that will hold your interest for the relatively quick 1 hour and 39 minute running time.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Joe Goodhart (27 KP) rated The Wild Storm, Vol. 2 in Books
Nov 30, 2020
I am old enough to remember when Jean Grey became Dark Phoenix. I am also old enough to remember reading all the Image Comics titles in the 90's, because they were cool! Not all of them (*cough* Rob Liefeld's YOUNGBLOOD and assorted other titles he helmed) were good, but some, like WILDC.A.T.s and WETWORKS, were a little cooler and better other than the aforementioned titles. Those "cooler" books split off and became a separate publishing imprint, Wildstorm. Unfortunately, some things, not unlike THE A-TEAM or THE GREATEST AMERICAN HERO, don't hold up as well, but they will always hold a "special spot" in our nerdy, li'l hearts!
In the late 90's, a writer came onboard looking to revamp one of the so-so books, STORMWATCH. That writer was Warren Ellis, and the series that spun out of the revamped STORMWATCH was THE AUTHORITY. With that book, Ellis made one hell of an impression with a lot of people, myself included, earning him, and THE AUTHORITY, a very high spot on the Nerd Chart.
I skipped out when, in 2017 (I think), DC Comics absorbed the Wildstorm characters/books, making them "exist" in the same comics universe as Superman and Batman!
Jump ahead to 2018. Warren Ellis approaches DC, offering THE WILD STORM, a massive (24 issues!) reboot of the Wildstorm universe. They greenlight it. And, what a ride!
Forget everything about the 90s WILDC.A.T.s, Grifter, even THE AUTHORITY. This is a blank slate, with so much potential!
Volume 2, reprinting issues 7-12, is just.. words elude me. It's not mind-numbing like a lot of what Marvel and DC are churning out of late, but it certainly makes my brain itch. Watching familiar faces being reworked and presented in a totally different way is fun and interesting at the same time. It's also equally entertaining to see equally familiar plots and sub-plots taken apart and put back together in an uniquely satisfying way.
The series is not TOO wordy, yet wordy enough that the story gives us much to chew on and reflect long after this volume, or any of the individual issues themselves, are read. My hat goes off to Warren Ellis, for he has clear outdone himself, something I did not think could be done!
However, as much as I was taken in by Ellis' writing, it is also worth noting Jon Davis-Hunt's art. At times, he reminded me of Keith Giffen's LEGION OF SUPER-HEROES work (back when Tom and Mary Bierbaum were writing it), simple, at first viewing, but further study shows so much more in each panel. I felt his art suits the angle that Ellis is shooting for, and for that, I am glad that he seems to be invested in the art until the 24th, and final, issue of the series is completed.
Look, plain and simple. Go read Volume, because you will most certainly want to read this volume, and then, Volume 3, when it comes out in March. This is a smart series, and if you are old enough to remember the 90s Wildstorm characters (like me), you'll be sorry if you don't check it out! 'Nuff said!
In the late 90's, a writer came onboard looking to revamp one of the so-so books, STORMWATCH. That writer was Warren Ellis, and the series that spun out of the revamped STORMWATCH was THE AUTHORITY. With that book, Ellis made one hell of an impression with a lot of people, myself included, earning him, and THE AUTHORITY, a very high spot on the Nerd Chart.
I skipped out when, in 2017 (I think), DC Comics absorbed the Wildstorm characters/books, making them "exist" in the same comics universe as Superman and Batman!
Jump ahead to 2018. Warren Ellis approaches DC, offering THE WILD STORM, a massive (24 issues!) reboot of the Wildstorm universe. They greenlight it. And, what a ride!
Forget everything about the 90s WILDC.A.T.s, Grifter, even THE AUTHORITY. This is a blank slate, with so much potential!
Volume 2, reprinting issues 7-12, is just.. words elude me. It's not mind-numbing like a lot of what Marvel and DC are churning out of late, but it certainly makes my brain itch. Watching familiar faces being reworked and presented in a totally different way is fun and interesting at the same time. It's also equally entertaining to see equally familiar plots and sub-plots taken apart and put back together in an uniquely satisfying way.
The series is not TOO wordy, yet wordy enough that the story gives us much to chew on and reflect long after this volume, or any of the individual issues themselves, are read. My hat goes off to Warren Ellis, for he has clear outdone himself, something I did not think could be done!
However, as much as I was taken in by Ellis' writing, it is also worth noting Jon Davis-Hunt's art. At times, he reminded me of Keith Giffen's LEGION OF SUPER-HEROES work (back when Tom and Mary Bierbaum were writing it), simple, at first viewing, but further study shows so much more in each panel. I felt his art suits the angle that Ellis is shooting for, and for that, I am glad that he seems to be invested in the art until the 24th, and final, issue of the series is completed.
Look, plain and simple. Go read Volume, because you will most certainly want to read this volume, and then, Volume 3, when it comes out in March. This is a smart series, and if you are old enough to remember the 90s Wildstorm characters (like me), you'll be sorry if you don't check it out! 'Nuff said!
Sarah (7798 KP) rated Borat: Subsequent Moviefilm (2020) in Movies
Oct 24, 2020
As good as the first - just not my thing
Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan sees Borat return to the USA after the humiliation he caused his country in the first movie.
This time Borat is returning to America to get “Mac”Donald Trump to acknowledge the Premier of Kazakhstan as his friend and ally, and it couldn’t be more different than the first film. Borat is now a recognisable face across the globe so Sacha Baron Cohen can no longer parade around the streets and dupe unsuspecting members of the public. Instead he has to don ridiculously terrible disguises that surprisingly still fool people, and also put Maria Bakalova as his daughter Tutar front and centre with a large portion of the scenes.
For the most part, this works as Bakalova is a fantastic actress and she’s a delight to watch. Alongside Cohen who works his magic yet again, you can’t help but marvel at their guts and acting prowess at pulling off these stunts with a straight face. And not only this, but they excel just as well at the sweet and heartwarming side of this film that focuses on the father daughter relationship and female empowerment.
My biggest issues with this film (and it’s predecessor) probably come down to personal taste. I laughed a fair amount watching this and there are some crazy scenes that you can’t help but chuckle at – the synagogue and cosmetic surgery clinic to name a couple. I also thought the twist ending was absolute genius. However I’m not a huge fan of hidden camera type comedy that goes beyond humour and into cringeworthy and embarrassing, and sadly Borat does this a lot, even to the point where it’s crude and disgusting. This is just my personal view, as I just don’t find comedy funny if it’s making me cringe. There’s bad taste that’s funny and bad taste that goes too far, and for me Borat features both of these. Fortunately the former just about prevails and doesn’t make the film too uncomfortable. What helps is the political themes and motivations that are so ably managed and highlighted, and the fact that they’ve managed to seamlessly integrate the COVID-19 pandemic into the filming which is pretty impressive.
Cohen has been very smart when it comes to releasing this film, in the hope that it may have some impact on the upcoming election. Frankly after watching this, I’d be surprised if it didn’t. The scene featuring Rudy Giuliani, which has been very well publicised over the past few weeks, is both fascinating and creepily disturbing in equal parts and if this doesn’t hamper the public’s opinion of him, I don’t know what will.
Overall this is a very smart and daring film with two fantastic actors. There has been a lot of debate over whether this is better or worse than the original, but for me it’s just more of the same. But if you loved the first one, you’ll love this.
This time Borat is returning to America to get “Mac”Donald Trump to acknowledge the Premier of Kazakhstan as his friend and ally, and it couldn’t be more different than the first film. Borat is now a recognisable face across the globe so Sacha Baron Cohen can no longer parade around the streets and dupe unsuspecting members of the public. Instead he has to don ridiculously terrible disguises that surprisingly still fool people, and also put Maria Bakalova as his daughter Tutar front and centre with a large portion of the scenes.
For the most part, this works as Bakalova is a fantastic actress and she’s a delight to watch. Alongside Cohen who works his magic yet again, you can’t help but marvel at their guts and acting prowess at pulling off these stunts with a straight face. And not only this, but they excel just as well at the sweet and heartwarming side of this film that focuses on the father daughter relationship and female empowerment.
My biggest issues with this film (and it’s predecessor) probably come down to personal taste. I laughed a fair amount watching this and there are some crazy scenes that you can’t help but chuckle at – the synagogue and cosmetic surgery clinic to name a couple. I also thought the twist ending was absolute genius. However I’m not a huge fan of hidden camera type comedy that goes beyond humour and into cringeworthy and embarrassing, and sadly Borat does this a lot, even to the point where it’s crude and disgusting. This is just my personal view, as I just don’t find comedy funny if it’s making me cringe. There’s bad taste that’s funny and bad taste that goes too far, and for me Borat features both of these. Fortunately the former just about prevails and doesn’t make the film too uncomfortable. What helps is the political themes and motivations that are so ably managed and highlighted, and the fact that they’ve managed to seamlessly integrate the COVID-19 pandemic into the filming which is pretty impressive.
Cohen has been very smart when it comes to releasing this film, in the hope that it may have some impact on the upcoming election. Frankly after watching this, I’d be surprised if it didn’t. The scene featuring Rudy Giuliani, which has been very well publicised over the past few weeks, is both fascinating and creepily disturbing in equal parts and if this doesn’t hamper the public’s opinion of him, I don’t know what will.
Overall this is a very smart and daring film with two fantastic actors. There has been a lot of debate over whether this is better or worse than the original, but for me it’s just more of the same. But if you loved the first one, you’ll love this.