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Hazel (1853 KP) rated He Walks Among Us: Encounters with Christ in a Broken World in Books
Dec 17, 2018
<b>Synopsis</b>
Richard Stearns is the president of World Vision United States who, along with his wife Reneé, regularly visits the poorer countries of our world to see the ways the charity is helping to change people's lives. <i>He Walks Among Us</i> is a compilation of short thoughts and observations (two-to-three pages, including photographs) they have both had while conducting their work. As they alternate the writing, we are given opinions and experiences that we may be able to relate to our own. As Richard is the president of the organisation, he can give an insight into the way World Vision works, however, he can also express his opinions as a father, grandfather and believer in Christ. Reneé is also a World Vision worker, but due to her nature, gives a more maternal impression of the scenes she witnesses.
The individuals written about in this book come from all over the world. Most are located in Africa, but there are also similar stories in Asia, South and North America, and even Eastern Europe. The terrors these people have faced are shocking (AIDs, war, sexual abuse, natural disasters etc), but each family has been aided in some way by World Vision and their donors.
The purpose of <i>He Walks Among Us</i> is not to promote World Vision, but to encourage us to let God and Jesus into our lives. Richard and Reneé assume their readers are Christians, however, they realise that being a Christian does not equate to fully accepting God's plans. The victims of war, rape, and poverty mentioned have also been touched by Jesus. Many did not know him before World Vision came into their lives, but they have now been transformed through the power of his love - although their situation may not have significantly improved.
The actual stories used to illustrate the work of World Vision are only brief mentions, providing the bare bones of the situations. What Richard and Reneé have focused on is linking these lives, their lives and our lives to passages from the Bible. Either taken literally or metaphorically, the pair manage to relate everything to the actions and fates of a number of key Biblical characters. This emphasises that Our Lord is walking among us, giving life, peace, hope and steadfast faith.
<b>Ideas</b>
Giving someone new hope or purpose in their life can be related to Jesus raising Lazarus from the dead. Whether people are literally dying, or on the edge of hopelessness and despair, improving their situation can turn their lives around.
The donors and workers at World Vision are like the Good Samaritan in Jesus' parable. We do not know these people, know their religion or circumstances, yet we send money and aid. To do nothing would make us the Priest or Levite in the story.
David was only a young boy when he had to face Goliath, yet, against all odds, he defeated him. The children mentioned in this book are similar to David. They each have their metaphorical Goliath's: poverty, illness, loss of parents, war, hunger etc, but with God working through us, these can be overcome.
<b>Noteworthy Bible Verses</b>
Each chapter of the book begins with a Bible verse, and often more are included within the text. Here are a few that really relate to the work of World Vision and the ways in which we can involve ourselves:
Philippians 4:12-13
Luke 21:3-4
Luke 6:20-21
Psalm 23:4
<b>Statistics</b>
23 million people in sub-Sahara Africa are suffering from HIV.
In Soviet-controlled Georgia, churches were banned. Some villages are only just seeing their first church in over 400 years.
20 thousand children under the age of 5 die every day.
Every 4 seconds a child under 5 dies.
Over 2 billion people in the world are living on $2 or less a day.
1 billion people have no access to clean drinking water.
41% of the population in Niger have no clean water.
<b>Citations</b>
Helen Keller: "So much has been given to me, I have no time to ponder over that which is denied."
Oswald Chambers: "The great hindrance in spiritual life is that we will look for big things to do. Jesus took a towel ... and began to wash the disciples' feet."
Mother Theresa: "I am a pencil in the hand of a writing God who is sending a love letter to the world."
C.S. Lewis: "Humility is not thinking less of yourself but thinking of yourself less."
<b>Other Mentions</b>
Hymn - Frances R. Havergal, <i>Take my Life and let it be.</i>
Film - <i>Pushing the Elephant</i>
Richard Stearns is the president of World Vision United States who, along with his wife Reneé, regularly visits the poorer countries of our world to see the ways the charity is helping to change people's lives. <i>He Walks Among Us</i> is a compilation of short thoughts and observations (two-to-three pages, including photographs) they have both had while conducting their work. As they alternate the writing, we are given opinions and experiences that we may be able to relate to our own. As Richard is the president of the organisation, he can give an insight into the way World Vision works, however, he can also express his opinions as a father, grandfather and believer in Christ. Reneé is also a World Vision worker, but due to her nature, gives a more maternal impression of the scenes she witnesses.
The individuals written about in this book come from all over the world. Most are located in Africa, but there are also similar stories in Asia, South and North America, and even Eastern Europe. The terrors these people have faced are shocking (AIDs, war, sexual abuse, natural disasters etc), but each family has been aided in some way by World Vision and their donors.
The purpose of <i>He Walks Among Us</i> is not to promote World Vision, but to encourage us to let God and Jesus into our lives. Richard and Reneé assume their readers are Christians, however, they realise that being a Christian does not equate to fully accepting God's plans. The victims of war, rape, and poverty mentioned have also been touched by Jesus. Many did not know him before World Vision came into their lives, but they have now been transformed through the power of his love - although their situation may not have significantly improved.
The actual stories used to illustrate the work of World Vision are only brief mentions, providing the bare bones of the situations. What Richard and Reneé have focused on is linking these lives, their lives and our lives to passages from the Bible. Either taken literally or metaphorically, the pair manage to relate everything to the actions and fates of a number of key Biblical characters. This emphasises that Our Lord is walking among us, giving life, peace, hope and steadfast faith.
<b>Ideas</b>
Giving someone new hope or purpose in their life can be related to Jesus raising Lazarus from the dead. Whether people are literally dying, or on the edge of hopelessness and despair, improving their situation can turn their lives around.
The donors and workers at World Vision are like the Good Samaritan in Jesus' parable. We do not know these people, know their religion or circumstances, yet we send money and aid. To do nothing would make us the Priest or Levite in the story.
David was only a young boy when he had to face Goliath, yet, against all odds, he defeated him. The children mentioned in this book are similar to David. They each have their metaphorical Goliath's: poverty, illness, loss of parents, war, hunger etc, but with God working through us, these can be overcome.
<b>Noteworthy Bible Verses</b>
Each chapter of the book begins with a Bible verse, and often more are included within the text. Here are a few that really relate to the work of World Vision and the ways in which we can involve ourselves:
Philippians 4:12-13
Luke 21:3-4
Luke 6:20-21
Psalm 23:4
<b>Statistics</b>
23 million people in sub-Sahara Africa are suffering from HIV.
In Soviet-controlled Georgia, churches were banned. Some villages are only just seeing their first church in over 400 years.
20 thousand children under the age of 5 die every day.
Every 4 seconds a child under 5 dies.
Over 2 billion people in the world are living on $2 or less a day.
1 billion people have no access to clean drinking water.
41% of the population in Niger have no clean water.
<b>Citations</b>
Helen Keller: "So much has been given to me, I have no time to ponder over that which is denied."
Oswald Chambers: "The great hindrance in spiritual life is that we will look for big things to do. Jesus took a towel ... and began to wash the disciples' feet."
Mother Theresa: "I am a pencil in the hand of a writing God who is sending a love letter to the world."
C.S. Lewis: "Humility is not thinking less of yourself but thinking of yourself less."
<b>Other Mentions</b>
Hymn - Frances R. Havergal, <i>Take my Life and let it be.</i>
Film - <i>Pushing the Elephant</i>
Lee (2222 KP) rated The Umbrella Academy in TV
Mar 4, 2019
I hadn’t even heard anything about The Umbrella Academy before, let alone read any of the Dark Horse comic series on which this Netflix show is adapted from. The premise, and the trailer for the show, didn’t initially appeal to me if I’m honest. But, it turns out that Netflix have only gone and done it again, turning out yet another binge worthy little gem of a show.
The setup for Umbrella Academy is that one day in 1989, 43 babies were born to mothers who were not pregnant when that day began. An eccentric billionaire, Sir Reginald Hargreeves, purchases seven of those babies and raises them, training them to become a powerful crime fighting team. Living with them at the Umbrella Academy is an android Nanny, who the children refer to as Mom, and a well spoken elderly chimpanzee butler called Dr Pogo (impressive work from Weta, the team behind the recent Planet of The Apes trilogy). Each child is known only by a number given to them by their ‘Father’, Sir Reginald – Number 1 through to Number 7 – ranked in order of their usefulness to him!
Fast forward to present day and the team have all but disbanded, with what’s left of them living out problem filled adult lives. Number 1 (now known as Luther) has been living on the moon for the past 4 years. He possesses super strength and has a very bulky appearance, wearing roll neck jumpers and a long coat. Number 2 (now Diego) is a vigilante and a bit of a knife expert. Number 3 (Allison) is now a famous actress, gifted with the ability to alter reality with her voice. Number 4 (Klaus) is a junkie who can communicate with the dead. Number 5 is able to perform small teleportations, or time jumps, but has been missing since they were all teenagers. Number 6 (Ben) was killed prior to the events in this show and Number 7 (Vanya) is believed not to have any special abilities, always being neglected and overlooked by the others while growing up. When news reaches them all that Sir Reginald has died, they all return to the academy.
The opening episode of The Umbrella Academy is packed full of thrills, mystery and a very exciting setup for the remainder of the season. We get a taste of the childrens abilities and teamwork, impressively taking out a bunch of bad guys. Then in present day, Number 5 suddenly appears from a portal in the sky. He claims to have spent decades living in a post-apocalyptic future, having jumped there all those years ago, but unable to return. He survived there until the age of 58, but on his return to present day he returned to his 13 year old appearance. We get a glimpse of the apocalyptic world that Number 5 arrived in and discover that whatever causes it is due to happen in just a few days from present day.
From there, the show suffers with what a lot of high concept shows tend to suffer from – second episode drag. That’s not to say that it’s boring, but we begin to delve into some of the Daddy issues that the various team members have, along with issues some of them have with each other and it’s a sharp contrast to the impressive opening episode. If I’m honest, by the end of episode 3 I was considering giving up, but I stuck with it. I really grew to like this dysfunctional family, and as the show dips back and forth between their teenage years and the present day, I really became invested in the show and its characters. They begin to band together to work through their issues and try and find a way of working out what causes the impending apocalypse, and how to stop it.
There are certainly consequences which play out throughout the season though. We discover that during his time in the future, Number 5 became involved in an organisation which works to correct events in time in order to ensure the destined timeline plays out as it should. Because of Number 5’s return to the present, he is now being hunted by a pair of black suited assassins called Hazel and Cha-Cha. Consequently, the body count in this show is pretty high, usually accompanied by a killer soundtrack!
I’m glad I stuck with it, because the whole thing soon became compulsive viewing, building to an incredibly entertaining and satisfying finale. With the apocalypse imminent, the whole team finally work together once more – a few twists and turns along the way, and a great cliffhanger setting things up for another season. I really loved everything about this show and the way that something so completely bonkers is presented so well, so believable and so intense.
The setup for Umbrella Academy is that one day in 1989, 43 babies were born to mothers who were not pregnant when that day began. An eccentric billionaire, Sir Reginald Hargreeves, purchases seven of those babies and raises them, training them to become a powerful crime fighting team. Living with them at the Umbrella Academy is an android Nanny, who the children refer to as Mom, and a well spoken elderly chimpanzee butler called Dr Pogo (impressive work from Weta, the team behind the recent Planet of The Apes trilogy). Each child is known only by a number given to them by their ‘Father’, Sir Reginald – Number 1 through to Number 7 – ranked in order of their usefulness to him!
Fast forward to present day and the team have all but disbanded, with what’s left of them living out problem filled adult lives. Number 1 (now known as Luther) has been living on the moon for the past 4 years. He possesses super strength and has a very bulky appearance, wearing roll neck jumpers and a long coat. Number 2 (now Diego) is a vigilante and a bit of a knife expert. Number 3 (Allison) is now a famous actress, gifted with the ability to alter reality with her voice. Number 4 (Klaus) is a junkie who can communicate with the dead. Number 5 is able to perform small teleportations, or time jumps, but has been missing since they were all teenagers. Number 6 (Ben) was killed prior to the events in this show and Number 7 (Vanya) is believed not to have any special abilities, always being neglected and overlooked by the others while growing up. When news reaches them all that Sir Reginald has died, they all return to the academy.
The opening episode of The Umbrella Academy is packed full of thrills, mystery and a very exciting setup for the remainder of the season. We get a taste of the childrens abilities and teamwork, impressively taking out a bunch of bad guys. Then in present day, Number 5 suddenly appears from a portal in the sky. He claims to have spent decades living in a post-apocalyptic future, having jumped there all those years ago, but unable to return. He survived there until the age of 58, but on his return to present day he returned to his 13 year old appearance. We get a glimpse of the apocalyptic world that Number 5 arrived in and discover that whatever causes it is due to happen in just a few days from present day.
From there, the show suffers with what a lot of high concept shows tend to suffer from – second episode drag. That’s not to say that it’s boring, but we begin to delve into some of the Daddy issues that the various team members have, along with issues some of them have with each other and it’s a sharp contrast to the impressive opening episode. If I’m honest, by the end of episode 3 I was considering giving up, but I stuck with it. I really grew to like this dysfunctional family, and as the show dips back and forth between their teenage years and the present day, I really became invested in the show and its characters. They begin to band together to work through their issues and try and find a way of working out what causes the impending apocalypse, and how to stop it.
There are certainly consequences which play out throughout the season though. We discover that during his time in the future, Number 5 became involved in an organisation which works to correct events in time in order to ensure the destined timeline plays out as it should. Because of Number 5’s return to the present, he is now being hunted by a pair of black suited assassins called Hazel and Cha-Cha. Consequently, the body count in this show is pretty high, usually accompanied by a killer soundtrack!
I’m glad I stuck with it, because the whole thing soon became compulsive viewing, building to an incredibly entertaining and satisfying finale. With the apocalypse imminent, the whole team finally work together once more – a few twists and turns along the way, and a great cliffhanger setting things up for another season. I really loved everything about this show and the way that something so completely bonkers is presented so well, so believable and so intense.
Lee (2222 KP) rated Phineas and Ferb the Movie: Candace Against the Universe (2020) in Movies
Sep 2, 2020
Like being back with old friends....
Tenet? I’m sorry, no, THIS was actually the biggest movie release of last week. Well, it is when you’re currently having to isolate at home and cannot go to the cinema for a few weeks. Despite that, I was actually way more excited for this to hit Disney+ this morning than a man my age probably should have been, and I have been for sometime, since it was first announced. I even managed to convince my daughter to get up early and watch with me, recreating those wonderful days when we both used to get up bright and early on a Saturday morning and sit and watch back to back episodes.
For the uninitiated, Phineas and Ferb are two step-brothers who spend their summer holiday coming up with highly elaborate ways to occupy every day, usually resulting in some wacky adventures and an extremely frustrated sister, Candace. Candace is forever trying to bust the boys and get their mum to catch them in the act, only to fail every time as some last second incident conveniently erases any evidence. Oh, and they also have a pet platypus called Perry, who without their knowledge works as an agent for a secret animal organisation, trying each episode to thwart the latest evil scheme hatched by Dr Doofenshmirtz. It’s very funny, features some incredibly catchy songs, and is just an extremely well written show for both kids and adults to enjoy. Running for four seasons, and racking up over 200 episodes before ending in 2015, the show also spawned a number of crossover specials involving Marvel and Star Wars.
Candace against the universe is the second feature length Phineas and Ferb movie and opens with Candace, lamenting the sad fact that no matter what she does, she never manages to successfully bust her brothers. All of this is delivered in the form of a song, and acts as a nostalgic reminder of some of the crazy inventions and adventures the boys have been involved in over the course of the series. The song ends with another perfect chance for Candace to bust the boys, who are currently enjoying themselves with their friends in the back garden. But of course, she fails. After heading out to the front of the house, and meeting up with friend Vanessa, she spots an alien spaceship. Believing her brothers to be behind it somehow, she and Vanessa are sucked up inside, before taking off and shooting up into the sky.
The boys see Candace flying away in the ship, and after photographing the alien license plate, are able to quickly identify where she’s headed (as you do…). They round up the gang and quickly rustle up a portal in their back garden (as you do…), in order to jump to the planet where Candace is being taken. The portal takes them via Doofenshmirtz Evil Inc, where they pick up Heinz Doofenshmirtz and Perry the Platypus (unknowingly), before heading off in a spaceship of their own. When they do catch up with Candace, they discover that she is being hailed as ‘the chosen one’ by the alien race that captured her. But does the queen of the planet have a more sinister reason for bringing Candace all this way?
It’s fair to say that, unless you’re already a fan of the show, you’re unlikely to have any interest whatsoever in watching Candace Against the Universe. For fans of the show though, this is a wonderful trip down memory lane, unless you’ve already spent all of lockdown recently catching up on all of the episodes on Disney+, and it feels so good to be back in the company of such wonderful characters. There’s a lot of comfort to be had from the running gags and themes of the episode format of the show, and the only thing I found with this movie, and the crossover shows, is that they end up feeling like a dragged out episode at times, tending to sag a little around the middle.
It’s a very minor complaint though. The songs are as good as ever, including a song from Doofenshmirtz about ‘adulting’, and the humour is still smart and on point, although Buford does tend to get some of the funnier lines in my opinion. And when Buford gets ridiculed for bringing a canoe with him on their trip to the alien planet, and Doofenshmirtz gets laughed at for inventing something as stupid as a “Chicken Replace-inator” – basically a gun which swaps whatever you fire at with the nearest chicken – you just know they’re working on delivering us some great gags later on throughout the movie. And obviously, Perry the Platypus gets to save the day as usual, and without anyone even realising it. It’s like being back in the company of old friends. Fingers crossed that this isn’t the last we see of Phineas, Ferb and the gang.
For the uninitiated, Phineas and Ferb are two step-brothers who spend their summer holiday coming up with highly elaborate ways to occupy every day, usually resulting in some wacky adventures and an extremely frustrated sister, Candace. Candace is forever trying to bust the boys and get their mum to catch them in the act, only to fail every time as some last second incident conveniently erases any evidence. Oh, and they also have a pet platypus called Perry, who without their knowledge works as an agent for a secret animal organisation, trying each episode to thwart the latest evil scheme hatched by Dr Doofenshmirtz. It’s very funny, features some incredibly catchy songs, and is just an extremely well written show for both kids and adults to enjoy. Running for four seasons, and racking up over 200 episodes before ending in 2015, the show also spawned a number of crossover specials involving Marvel and Star Wars.
Candace against the universe is the second feature length Phineas and Ferb movie and opens with Candace, lamenting the sad fact that no matter what she does, she never manages to successfully bust her brothers. All of this is delivered in the form of a song, and acts as a nostalgic reminder of some of the crazy inventions and adventures the boys have been involved in over the course of the series. The song ends with another perfect chance for Candace to bust the boys, who are currently enjoying themselves with their friends in the back garden. But of course, she fails. After heading out to the front of the house, and meeting up with friend Vanessa, she spots an alien spaceship. Believing her brothers to be behind it somehow, she and Vanessa are sucked up inside, before taking off and shooting up into the sky.
The boys see Candace flying away in the ship, and after photographing the alien license plate, are able to quickly identify where she’s headed (as you do…). They round up the gang and quickly rustle up a portal in their back garden (as you do…), in order to jump to the planet where Candace is being taken. The portal takes them via Doofenshmirtz Evil Inc, where they pick up Heinz Doofenshmirtz and Perry the Platypus (unknowingly), before heading off in a spaceship of their own. When they do catch up with Candace, they discover that she is being hailed as ‘the chosen one’ by the alien race that captured her. But does the queen of the planet have a more sinister reason for bringing Candace all this way?
It’s fair to say that, unless you’re already a fan of the show, you’re unlikely to have any interest whatsoever in watching Candace Against the Universe. For fans of the show though, this is a wonderful trip down memory lane, unless you’ve already spent all of lockdown recently catching up on all of the episodes on Disney+, and it feels so good to be back in the company of such wonderful characters. There’s a lot of comfort to be had from the running gags and themes of the episode format of the show, and the only thing I found with this movie, and the crossover shows, is that they end up feeling like a dragged out episode at times, tending to sag a little around the middle.
It’s a very minor complaint though. The songs are as good as ever, including a song from Doofenshmirtz about ‘adulting’, and the humour is still smart and on point, although Buford does tend to get some of the funnier lines in my opinion. And when Buford gets ridiculed for bringing a canoe with him on their trip to the alien planet, and Doofenshmirtz gets laughed at for inventing something as stupid as a “Chicken Replace-inator” – basically a gun which swaps whatever you fire at with the nearest chicken – you just know they’re working on delivering us some great gags later on throughout the movie. And obviously, Perry the Platypus gets to save the day as usual, and without anyone even realising it. It’s like being back in the company of old friends. Fingers crossed that this isn’t the last we see of Phineas, Ferb and the gang.
Bob Mann (459 KP) rated Misbehaviour (2020) in Movies
Sep 28, 2021
A film guide on how to sit on the fence.
It’s only 50 years ago, but the timeframe of Misbehaviour feels like a very different world. Although only 9 years old in 1970, I remember sitting around the tele with my family to enjoy the regular Eric and Julia Morley ‘cattle market’ of girls parading in national dress and swimsuits. We were not alone. At its peak in the 70’s over 18 million Britons watched the show (not surprising bearing in mind there were only three channels to choose from in 1970… no streaming… no video players… not even smartphones to distract you!)
The background.
“Misbehaviour” tells the story of this eventful 1970 Miss World competition. It was eventful for a number of reasons: the Women’s Lib movement was rising in popularity, and the event was disrupted a flour-bombing group of women in the audience; the compere Bob Hope did an appallingly misjudged and mysoginistic routine that died a death; and, after significant pressure against the apartheid regime in South Africa, the country surprised the world by sending two entrants to the show – one white (Miss South Africa) and one black (Miss Africa South).
The movie charts the events leading up to that night and some of the fallout that resulted from it.
A strong ensemble cast.
“Misbehaviour” has a great cast.
Leading the women are posh-girl Sally Alexander (Keira Knightley) and punk-girl Jo Robinson (Jessie Buckley). I’m normally a big fan of both of these ladies. But here I never felt either of them connected particularly well with their characters. In particular, Buckley (although delivering as a similar maverick in “Wild Rose“) always felt a bit forced and out of place here.
On the event organisation side is Rhys Ifans, almost unrecognisable as Eric Morley, and Keeley Hawes as Julia Morley. Ifans gets the mannerisms of the impresario spot-on (as illustrated by some real-life footage shown at the end of the film). Also splendid is funny-man Miles Jupp as their “fixer” Clive.
Less successful for me was Greg Kinnear as Bob Hope. Hope clearly has such an unusual moon-shaped face that it’s difficult to find anyone to cast as a lookalike.
Just who is exploiting who here?
There’s no question in my mind that the event, in retrospect, is obscenely inappropriate – even though, bizarrely, it still runs to this day. But my biggest problem with the movie is that it never seems to pin its colours to any particular mast. It clearly illustrates the inappropriateness of Hope’s off-colour jokes and the instruction from host Michael Aspel (Charlie Anson), asking the swimsuit models to “show their rear view” to the audience, is gobsmackingly crass.
However, the script then takes a sympathetic view to the candidates from Grenada, South Africa, etc. who are clearly ‘using their bodies’ to get a leg-up to fame and fortune back in their home countries. (Final scenes showing the woman today, clearly affluent and happy, doesn’t help with that!)
As such, the movie sits magnificently on the fence and never reaches a ‘verdict’.
The racial sub-story.
Equally problematic is the really fascinating racial sub-story: this was an event, held in a UK that was racially far less tolerant than it is today, where no black person had EVER won. Indeed, a win was in most peoples’ eyes unthinkable. This was a time when “black lives didn’t matter”. Here we have Miss Grenada (an excellent Gugu Mbatha-Raw) and the utterly captivating Miss Africa South (a debut performance by Loreece Harrison) threatening to turn the tables . There was surely potential to get a lot more value out of this aspect of the story, but it is generally un-mined.
Perhaps a problem here is that there is so much story potential around this one historical event that there is just too much to fit comfortably into one screenplay. The writers Rebecca Frayn and Gaby Chiappe end up just giving a few bursts on the liquidizer and getting a slightly grey mush.
Nostalgia – it’s not what it used to be.
All this is not to say the movie was a write off. It’s a perfectly pleasant watch and for those (like me) of a certain age, the throwback fashions, vehicles and attitudes deliver a burst of nostalgia for the flawed but rose-coloured days of my first decade on the planet.
But it all feels like a bit of a missed opportunity to properly tackle either one of the two key issues highlighted in the script. As a female-led project (the director is Philippa Lowthorpe) I really wanted this to be good. But I’m afraid for me it’s all a bit “meh”.
If asked “would you like to watch that again?”… I would probably, politely, show my rear view and decline.
The background.
“Misbehaviour” tells the story of this eventful 1970 Miss World competition. It was eventful for a number of reasons: the Women’s Lib movement was rising in popularity, and the event was disrupted a flour-bombing group of women in the audience; the compere Bob Hope did an appallingly misjudged and mysoginistic routine that died a death; and, after significant pressure against the apartheid regime in South Africa, the country surprised the world by sending two entrants to the show – one white (Miss South Africa) and one black (Miss Africa South).
The movie charts the events leading up to that night and some of the fallout that resulted from it.
A strong ensemble cast.
“Misbehaviour” has a great cast.
Leading the women are posh-girl Sally Alexander (Keira Knightley) and punk-girl Jo Robinson (Jessie Buckley). I’m normally a big fan of both of these ladies. But here I never felt either of them connected particularly well with their characters. In particular, Buckley (although delivering as a similar maverick in “Wild Rose“) always felt a bit forced and out of place here.
On the event organisation side is Rhys Ifans, almost unrecognisable as Eric Morley, and Keeley Hawes as Julia Morley. Ifans gets the mannerisms of the impresario spot-on (as illustrated by some real-life footage shown at the end of the film). Also splendid is funny-man Miles Jupp as their “fixer” Clive.
Less successful for me was Greg Kinnear as Bob Hope. Hope clearly has such an unusual moon-shaped face that it’s difficult to find anyone to cast as a lookalike.
Just who is exploiting who here?
There’s no question in my mind that the event, in retrospect, is obscenely inappropriate – even though, bizarrely, it still runs to this day. But my biggest problem with the movie is that it never seems to pin its colours to any particular mast. It clearly illustrates the inappropriateness of Hope’s off-colour jokes and the instruction from host Michael Aspel (Charlie Anson), asking the swimsuit models to “show their rear view” to the audience, is gobsmackingly crass.
However, the script then takes a sympathetic view to the candidates from Grenada, South Africa, etc. who are clearly ‘using their bodies’ to get a leg-up to fame and fortune back in their home countries. (Final scenes showing the woman today, clearly affluent and happy, doesn’t help with that!)
As such, the movie sits magnificently on the fence and never reaches a ‘verdict’.
The racial sub-story.
Equally problematic is the really fascinating racial sub-story: this was an event, held in a UK that was racially far less tolerant than it is today, where no black person had EVER won. Indeed, a win was in most peoples’ eyes unthinkable. This was a time when “black lives didn’t matter”. Here we have Miss Grenada (an excellent Gugu Mbatha-Raw) and the utterly captivating Miss Africa South (a debut performance by Loreece Harrison) threatening to turn the tables . There was surely potential to get a lot more value out of this aspect of the story, but it is generally un-mined.
Perhaps a problem here is that there is so much story potential around this one historical event that there is just too much to fit comfortably into one screenplay. The writers Rebecca Frayn and Gaby Chiappe end up just giving a few bursts on the liquidizer and getting a slightly grey mush.
Nostalgia – it’s not what it used to be.
All this is not to say the movie was a write off. It’s a perfectly pleasant watch and for those (like me) of a certain age, the throwback fashions, vehicles and attitudes deliver a burst of nostalgia for the flawed but rose-coloured days of my first decade on the planet.
But it all feels like a bit of a missed opportunity to properly tackle either one of the two key issues highlighted in the script. As a female-led project (the director is Philippa Lowthorpe) I really wanted this to be good. But I’m afraid for me it’s all a bit “meh”.
If asked “would you like to watch that again?”… I would probably, politely, show my rear view and decline.
Daniel Boyd (1066 KP) rated Glass (2019) in Movies
Feb 1, 2019 (Updated Feb 1, 2019)
First 2 acts are interesting (1 more)
MacAvoy is great
A Textbook Example On How Not To End A Trilogy
Contains spoilers, click to show
Glass is the 3rd movie in M. Night Shyamalan's pseudo superhero trilogy following Unbreakable and Split. Unfortunately it is probably the worst movie out of the three and doesn't live up to the twenty years of build-up it has had going into it. Full spoilers will be present through this review as it's kind of hard to discuss the film without spoiling anything.
The movie opens with what is essentially a condensed version of both Unbreakable and Split. We see Bruce Willis' Dennis Dunn stalking criminals in his poncho and we see James MacAvoy's Kevin Wendell Crumb keeping four young girls captured in an abandoned warehouse. The old 'unstoppable force meets immovable object,' trope plays out and the two of them wind up getting caught by Sarah Paulson and her team, who apparently specialise in investigating those who have delusions about having superhuman powers.
She brings the two of them to a mental hospital where she is keeping Samuel L Jackson's Mr Glass. Sarah Paulson's character then spends the next chunk of the movie trying to convince the three that the powers that they believe they possess is actually in their heads and there is a real-world, logical explanation to everything that they can do. This part of the film is actually pretty interesting in the ideas that it poses and I liked where the film was going at this point.
Then the third act happens and we are reminded why Shyamalan so desperately needs an editor to keep his ideas in check. There is this huge build up that takes place teasing an epic fight between Dunn and The Beast at the top of some huge brand new building in the middle of the city. Unfortunately we never get there and instead we just get some mediocre action choreography in a medium sized car park between the two. The whole thing ends with the fairly contrived retcon twist that Kevin's dad was in the same train crash that Dunn survived and Mr Glass caused, thus making Mr Glass the 'creator,' of both superheroes. Then the three characters die in an extremely anticlimactic fashion. The Beast breaks a couple of Mr Glass' bones and he falls out of his wheelchair and dies, (even though this is something that we have seen happen to him in Unbreakable and he survived it.) Then a sniper randomly shoots Kevin even though the beast is tamed by the appearance of Anya Taylor-Joy's character, Casey from Split. He just gets shot once and dies with hardly any fanfare. Then David Dunn is drowned in a puddle as Sarah Paulson explains that she is part of a secret organisation that hunts people who believe that they are superheroes, determines whether or not they really are superheroes through a pretty drawn-out process and then proceeds to kill them if they do in fact possess superpowers. We also see that for some reason this group apparently only meets in crowded public restaurants in the middle of the city centre in broad daylight and have to wait until any non members of this super secret club, (that just killed 3 people in a public car park in broad daylight in front of cops and family members,) have left the restaurant before they can discuss business. Then it turns out that Mr Glass leaked the footage from the hospital security cameras online so that people would see that superheroes really do exist.
If you are someone that hasn't seen the movie and doesn't care about spoilers so you just read this review anyway; your brain is probably falling out of your ear after reading my description of the third act and that's because on paper this whole sequence of events is absolutely ludicrous and the fact that no one pointed this out during the movie's production is mind-boggling.
What a waste after two solid movies and a decent two first acts worth of build up...
There are some positives I took away though. It is as much of an absolute joy to watch James MacAvoy play so many totally different characters convincingly in one scene as it was in Split, maybe even more so here as we get to see even more personalities emerge and in even quicker succession. He is an utterly phenomenal actor. It is also cool to see Mr Glass and David Dunn after twenty years to see where they are at in their lives and how they have been spending their time since the events of Unbreakable. There are also some nice shots and camera angles in the film, (more so in the first two acts of the story,) and some nice colour scheme aesthetics going on in certain compositions that made some shots more interesting to look at.
Overall, this movie could have been so much more and in the end it throws away some really potentially interesting plot threads in favour for a few tacked on twists and gives us nothing more than a half arsed conclusion to an otherwise solid trilogy.
The movie opens with what is essentially a condensed version of both Unbreakable and Split. We see Bruce Willis' Dennis Dunn stalking criminals in his poncho and we see James MacAvoy's Kevin Wendell Crumb keeping four young girls captured in an abandoned warehouse. The old 'unstoppable force meets immovable object,' trope plays out and the two of them wind up getting caught by Sarah Paulson and her team, who apparently specialise in investigating those who have delusions about having superhuman powers.
She brings the two of them to a mental hospital where she is keeping Samuel L Jackson's Mr Glass. Sarah Paulson's character then spends the next chunk of the movie trying to convince the three that the powers that they believe they possess is actually in their heads and there is a real-world, logical explanation to everything that they can do. This part of the film is actually pretty interesting in the ideas that it poses and I liked where the film was going at this point.
Then the third act happens and we are reminded why Shyamalan so desperately needs an editor to keep his ideas in check. There is this huge build up that takes place teasing an epic fight between Dunn and The Beast at the top of some huge brand new building in the middle of the city. Unfortunately we never get there and instead we just get some mediocre action choreography in a medium sized car park between the two. The whole thing ends with the fairly contrived retcon twist that Kevin's dad was in the same train crash that Dunn survived and Mr Glass caused, thus making Mr Glass the 'creator,' of both superheroes. Then the three characters die in an extremely anticlimactic fashion. The Beast breaks a couple of Mr Glass' bones and he falls out of his wheelchair and dies, (even though this is something that we have seen happen to him in Unbreakable and he survived it.) Then a sniper randomly shoots Kevin even though the beast is tamed by the appearance of Anya Taylor-Joy's character, Casey from Split. He just gets shot once and dies with hardly any fanfare. Then David Dunn is drowned in a puddle as Sarah Paulson explains that she is part of a secret organisation that hunts people who believe that they are superheroes, determines whether or not they really are superheroes through a pretty drawn-out process and then proceeds to kill them if they do in fact possess superpowers. We also see that for some reason this group apparently only meets in crowded public restaurants in the middle of the city centre in broad daylight and have to wait until any non members of this super secret club, (that just killed 3 people in a public car park in broad daylight in front of cops and family members,) have left the restaurant before they can discuss business. Then it turns out that Mr Glass leaked the footage from the hospital security cameras online so that people would see that superheroes really do exist.
If you are someone that hasn't seen the movie and doesn't care about spoilers so you just read this review anyway; your brain is probably falling out of your ear after reading my description of the third act and that's because on paper this whole sequence of events is absolutely ludicrous and the fact that no one pointed this out during the movie's production is mind-boggling.
What a waste after two solid movies and a decent two first acts worth of build up...
There are some positives I took away though. It is as much of an absolute joy to watch James MacAvoy play so many totally different characters convincingly in one scene as it was in Split, maybe even more so here as we get to see even more personalities emerge and in even quicker succession. He is an utterly phenomenal actor. It is also cool to see Mr Glass and David Dunn after twenty years to see where they are at in their lives and how they have been spending their time since the events of Unbreakable. There are also some nice shots and camera angles in the film, (more so in the first two acts of the story,) and some nice colour scheme aesthetics going on in certain compositions that made some shots more interesting to look at.
Overall, this movie could have been so much more and in the end it throws away some really potentially interesting plot threads in favour for a few tacked on twists and gives us nothing more than a half arsed conclusion to an otherwise solid trilogy.
Neil Goddard (3 KP) rated Hellboy (2019) in Movies
Feb 27, 2020
It all looked soooo promising
Contains spoilers, click to show
Let me say this upfront; David Harbour looks f---ing boss as Hellboy. The makeup is far superior to that of Ron Perlman, not that there was anything wrong with Ron Perlman’s, but with this new incarnation it’s all in the eyes. Deep red, sunken, pained. Sadly, that is all I can say about this movie that is one hundred percent genuinely positive. There are positives however, but they come with a big ‘however’.
I was initially a little concerned that we were getting a re-boot and not a direct sequel to Hellboy II: The Golden Army (2008), especially as it still seemed so recent and was so well made. I know it was over a decade ago but quality is timeless, yeah? Then David Harbour was cast and Neil Marshall announced as director. Great, thought I, an actor I like and a director who’s put out some solid genre material. I saw the first picture of Harbour as Hellboy and I was genuinely excited. I saw the trailer and again, excited. Then I watched the film.
Eurgh, where to start?
Firstly, Ian McShane’s initial voice over is clunky and ill fitting, then they throw in some b@llocks about King Arthur and Excalibur. I had my first wobble here, as some of the effects seemed less than special.
Cue opening titles.
The film starts with a Mexican wrestling match that is purely exposition to let us know Hellboy is a hard drinking and hard fighting anti-hero working for an organisation that deals with the paranormal. The make up for his vampiric opponent is also great (can’t fault the makeup department), but the scene seemed superfluous. We get the nubbin of the story forming now; some horrible witchy wench from way back when was cut into bits and flung around jolly old England to prevent her from spreading a right ‘orrible plague. Turns out a potty-mouthed Liverpudlian pig-monster is collecting said bits in the hope of putting her back together in exchange for his normal appearance. Scouse pig-monster is quite entertaining.
Hellboy goes to England at the request of an upper-class paranormal society to help them kill giants; this goes t1ts up. Again, this seems like unnecessary exposition to introduce Alice, a medium who he rescued as a baby, who now rescues him in a transit van. We also get introduced to M11’s Agent Daimio. There something wrong with him, he keeps injecting himself with a serum to stop something happening. I knew at this point we’d get to see what it was eventually, probably at a juncture where something is needed to rescue someone important. However, at this point I had a feeling it would be bad, I just didn’t know how bad.
There some more fighting, some good effects, some mediocre effects and some terrible effects. There’s some good one-liners, there’s some dull and/or terrible dialogue and then we get the film’s conclusion.
There’s something I’ve been putting off mentioning as I didn’t want the entire review to be about it, and it could have been; the witchy wench at the heart of all this paranormal consternation, Nimue, is played by Milla Jovovich and she is terrible. From when she first opens her mouth to her predictable demise, she is terrible. Terrible. TERRIBLE.
I love some of the Resident Evil films but all she’s required to do is some slow-motion scissor kicks and shoot zombies and zombie-dogs in the face. She is tolerated, rather than enjoyed. Here she is emoting, or at least I think that’s what she was going for, and as a depiction of an evil entity bent of the destruction of all mankind, she is, for want of a better word, cack.
David Harbour and the Hellboy franchise deserve better than this. To be blunt, the franchise has better than this and Mike Mignola should be a bit more f---ing precious with his creation.
Hellboy (2004) was genuinely exciting; it was an origin story that bought that story full circle for its thrilling and apocalyptical conclusion. It has a wonderful nemesis, great support and breath-taking visuals. The re-tread of the origin story in Hellboy (2019) is, again, one more unnecessary diversion from a sketchy plot, which, for all its meagre bones takes a f-ck load of time to tell.
Hellboy II: The Golden Army (2008) was equally impressive. It also introduced a fully formed community of creatures and customs hiding alongside mankind. It did so with nonchalant aplomb. Nothing seemed irrelevant or forced. For two films with almost identical running times, Hellboy (2019) tells less of a story with way more waffle.
So, I did mention there were some positives. David Harbour is great. He’s dour, sarcastic, defiant and funny, he just has no engaging story in which to be all those things. Ian McShane is good as the father figure but he is overshadowed by memories of the late, unbelievably great John Hurt. The story of a witch trying to destroy mankind is solid fantasy movie gold and the unleashing of her plague late in the final act is suitably hellish; bizarre demons emerging from city streets and tearing humans limb from limb, it’s bloody wonderful and wonderfully bloody. They all could have come straight out of a Clive Barker fever dream. However, it’s too little too late, by this point in the story we’ve had too many cutaways, too much shoddy CGI, and Agent Daimio stinking up many a scene with his ‘will he won’t he’ turn into something rubbish… he does.
The worst part of all this is I don’t know if they can come back from this. The film may have sunk the franchise at least for the next few years.
I do however, look forward to a re-boot in a decade or so, if we haven’t all been assimilated by aliens, overrun by AI robots or decimated by a supernatural plague bought on by some witchy wench with an axe to grind.
THREE WORD SUMMATION: Big Red Turd.
I was initially a little concerned that we were getting a re-boot and not a direct sequel to Hellboy II: The Golden Army (2008), especially as it still seemed so recent and was so well made. I know it was over a decade ago but quality is timeless, yeah? Then David Harbour was cast and Neil Marshall announced as director. Great, thought I, an actor I like and a director who’s put out some solid genre material. I saw the first picture of Harbour as Hellboy and I was genuinely excited. I saw the trailer and again, excited. Then I watched the film.
Eurgh, where to start?
Firstly, Ian McShane’s initial voice over is clunky and ill fitting, then they throw in some b@llocks about King Arthur and Excalibur. I had my first wobble here, as some of the effects seemed less than special.
Cue opening titles.
The film starts with a Mexican wrestling match that is purely exposition to let us know Hellboy is a hard drinking and hard fighting anti-hero working for an organisation that deals with the paranormal. The make up for his vampiric opponent is also great (can’t fault the makeup department), but the scene seemed superfluous. We get the nubbin of the story forming now; some horrible witchy wench from way back when was cut into bits and flung around jolly old England to prevent her from spreading a right ‘orrible plague. Turns out a potty-mouthed Liverpudlian pig-monster is collecting said bits in the hope of putting her back together in exchange for his normal appearance. Scouse pig-monster is quite entertaining.
Hellboy goes to England at the request of an upper-class paranormal society to help them kill giants; this goes t1ts up. Again, this seems like unnecessary exposition to introduce Alice, a medium who he rescued as a baby, who now rescues him in a transit van. We also get introduced to M11’s Agent Daimio. There something wrong with him, he keeps injecting himself with a serum to stop something happening. I knew at this point we’d get to see what it was eventually, probably at a juncture where something is needed to rescue someone important. However, at this point I had a feeling it would be bad, I just didn’t know how bad.
There some more fighting, some good effects, some mediocre effects and some terrible effects. There’s some good one-liners, there’s some dull and/or terrible dialogue and then we get the film’s conclusion.
There’s something I’ve been putting off mentioning as I didn’t want the entire review to be about it, and it could have been; the witchy wench at the heart of all this paranormal consternation, Nimue, is played by Milla Jovovich and she is terrible. From when she first opens her mouth to her predictable demise, she is terrible. Terrible. TERRIBLE.
I love some of the Resident Evil films but all she’s required to do is some slow-motion scissor kicks and shoot zombies and zombie-dogs in the face. She is tolerated, rather than enjoyed. Here she is emoting, or at least I think that’s what she was going for, and as a depiction of an evil entity bent of the destruction of all mankind, she is, for want of a better word, cack.
David Harbour and the Hellboy franchise deserve better than this. To be blunt, the franchise has better than this and Mike Mignola should be a bit more f---ing precious with his creation.
Hellboy (2004) was genuinely exciting; it was an origin story that bought that story full circle for its thrilling and apocalyptical conclusion. It has a wonderful nemesis, great support and breath-taking visuals. The re-tread of the origin story in Hellboy (2019) is, again, one more unnecessary diversion from a sketchy plot, which, for all its meagre bones takes a f-ck load of time to tell.
Hellboy II: The Golden Army (2008) was equally impressive. It also introduced a fully formed community of creatures and customs hiding alongside mankind. It did so with nonchalant aplomb. Nothing seemed irrelevant or forced. For two films with almost identical running times, Hellboy (2019) tells less of a story with way more waffle.
So, I did mention there were some positives. David Harbour is great. He’s dour, sarcastic, defiant and funny, he just has no engaging story in which to be all those things. Ian McShane is good as the father figure but he is overshadowed by memories of the late, unbelievably great John Hurt. The story of a witch trying to destroy mankind is solid fantasy movie gold and the unleashing of her plague late in the final act is suitably hellish; bizarre demons emerging from city streets and tearing humans limb from limb, it’s bloody wonderful and wonderfully bloody. They all could have come straight out of a Clive Barker fever dream. However, it’s too little too late, by this point in the story we’ve had too many cutaways, too much shoddy CGI, and Agent Daimio stinking up many a scene with his ‘will he won’t he’ turn into something rubbish… he does.
The worst part of all this is I don’t know if they can come back from this. The film may have sunk the franchise at least for the next few years.
I do however, look forward to a re-boot in a decade or so, if we haven’t all been assimilated by aliens, overrun by AI robots or decimated by a supernatural plague bought on by some witchy wench with an axe to grind.
THREE WORD SUMMATION: Big Red Turd.
Bob Mann (459 KP) rated Tenet (2020) in Movies
Aug 28, 2020
Spectacular action set pieces done "in camera" (1 more)
Branagh and Debecki, both superb
Sound mix makes dialogue unintelligible (1 more)
In the words of Huey Lewis, "You're too darn loud"
Only Nolan and Schrödinger’s cat knows what’s going on.
Tenet is the long awaited new movie from Christopher Nolan. The movie that's set to reboot the multiplexes post-Covid. It's a manic, extremely loud, extremely baffling sci-fi cum spy rollercoaster that will please a lot of Nolan fan-boys but which left me with very mixed views.
How to write a spoiler-free plot summary? John David Washington (Denzel's lad) plays "The Protagonist" - a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he's on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about "Domestic Abuse"). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive.
This is cinema at its biggest and boldest. Nolan has taken a cinema 'splurge' gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his 'effects' for real and 'in camera', some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in "Inception" was crazy? You ain't seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film's ridiculously huge finale.
The 'inversion' aspects of the story also lends itself to some fight scenes - one in particular in an airport 'freeport' - which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role.
Nolan's crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema's cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing.
The 'timey-wimey' aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think "Oh, that's a sloppy continuity error" or "Shame the production design team missed that cracked wing mirror". Then later in the movie, you get at least a dozen "Aha!" moments. Some of them (no spoilers) are jaw-droppingly spectacular.
Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home.
And so to the first of my significant gripes with Tenet. The sound mix in the movie is all over the place. I'd go stronger than that... it's truly awful (expletive deleted)! Nolan often implements Shakespeare's trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to:
- the ear-splitting volume of the sound: 2020 movie audiences are going to be suffering from 'Tenetis'! (that joke © David Moody, 2020);
- the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?);
- a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears.
Overall, watching this with subtitles at a special showing might be advisable!
OK, so I only have a PhD in Physics... but at times I was completely lost as to the intricacies of the plot. It made "Inception" look like "The Tiger Who Came to Tea". There was an obvious 'McGuffin' in "Inception" - - ("These 'dream levels'... how exactly are they architected??".... "Don't worry... they'll never notice". And we didn't!) In "Tenet" there are McGuffins nested in McGuffins. So much of this is casually waved away as "future stuff... you're not qualified" that it feels vaguely condescending to the audience. At one point Kat says "I don't understand what's going on" - darn right luv.
There are also gaps in the storyline that jar. The word "Tenet"? What does it mean. Is it just a password? I'm none the wiser.
The manic pace of Tenet and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb's marriage problems from "Inception" or the father/daughter separation of "Interstellar". In fact, you barely care for anyone in the movie, perhaps with the exception of Kat.
It's a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It's a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years.
This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson's Potter co-star Clemence Poésy also pops up - rather more un-glam that usual - as the scientist plot-expositor early in the movie.
Nolan's regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery!
However, it's Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale.
So, given this was my most anticipated movie of the year, it's a bit of a curate's egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It's a movie which needs a second watch, so I'm heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch... it's not likely to go down... but it might go up.
(For the full graphical review, check out One Mann's Movies here - https://bob-the-movie-man.com/2020/08/28/tenet-only-nolan-and-schrodingers-cat-knows-whats-going-on/ .)
How to write a spoiler-free plot summary? John David Washington (Denzel's lad) plays "The Protagonist" - a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he's on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about "Domestic Abuse"). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive.
This is cinema at its biggest and boldest. Nolan has taken a cinema 'splurge' gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his 'effects' for real and 'in camera', some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in "Inception" was crazy? You ain't seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film's ridiculously huge finale.
The 'inversion' aspects of the story also lends itself to some fight scenes - one in particular in an airport 'freeport' - which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role.
Nolan's crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema's cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing.
The 'timey-wimey' aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think "Oh, that's a sloppy continuity error" or "Shame the production design team missed that cracked wing mirror". Then later in the movie, you get at least a dozen "Aha!" moments. Some of them (no spoilers) are jaw-droppingly spectacular.
Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home.
And so to the first of my significant gripes with Tenet. The sound mix in the movie is all over the place. I'd go stronger than that... it's truly awful (expletive deleted)! Nolan often implements Shakespeare's trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to:
- the ear-splitting volume of the sound: 2020 movie audiences are going to be suffering from 'Tenetis'! (that joke © David Moody, 2020);
- the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?);
- a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears.
Overall, watching this with subtitles at a special showing might be advisable!
OK, so I only have a PhD in Physics... but at times I was completely lost as to the intricacies of the plot. It made "Inception" look like "The Tiger Who Came to Tea". There was an obvious 'McGuffin' in "Inception" - - ("These 'dream levels'... how exactly are they architected??".... "Don't worry... they'll never notice". And we didn't!) In "Tenet" there are McGuffins nested in McGuffins. So much of this is casually waved away as "future stuff... you're not qualified" that it feels vaguely condescending to the audience. At one point Kat says "I don't understand what's going on" - darn right luv.
There are also gaps in the storyline that jar. The word "Tenet"? What does it mean. Is it just a password? I'm none the wiser.
The manic pace of Tenet and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb's marriage problems from "Inception" or the father/daughter separation of "Interstellar". In fact, you barely care for anyone in the movie, perhaps with the exception of Kat.
It's a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It's a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years.
This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson's Potter co-star Clemence Poésy also pops up - rather more un-glam that usual - as the scientist plot-expositor early in the movie.
Nolan's regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery!
However, it's Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale.
So, given this was my most anticipated movie of the year, it's a bit of a curate's egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It's a movie which needs a second watch, so I'm heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch... it's not likely to go down... but it might go up.
(For the full graphical review, check out One Mann's Movies here - https://bob-the-movie-man.com/2020/08/28/tenet-only-nolan-and-schrodingers-cat-knows-whats-going-on/ .)
Daniel Boyd (1066 KP) rated Star Wars: Episode VII - The Force Awakens (2015) in Movies
Jul 20, 2017
There has been an awakening...
Contains spoilers, click to show
There was a point where I honestly thought that this day was never going to come. Ladies and gentlemen, for the first time in 30 years we have an exciting, entertaining Star Wars movie. Now this review will contain a non spoilers section and a spoilers section, so if you haven’t seen the movie yet, maybe don’t read past the spoiler warning. So, strap in because if this franchise is starting as it means to go on, then I’ve got a good feeling about this…
First off, let’s talk about the new cast. All three of them are fantastic in their performances, with Daisy Ridley as Rey, John Boyega as Finn and Oscar Isaac as Poe Dameron respectively. Poe has the smallest role, which is my biggest and only complaint about the character, because he is awesome. He is funny, he’s an amazing pilot, he reeks of cool and he is the one character in this movie that I’d love to get a pint with. Finn is another new character, dealing with an inner conflict, (which I won’t ruin,) but is still likeable and relatable. Rey is arguably the most central of the three new main cast members and she delivers also, she sold the fairly bland character dealing with an exciting new adventure calling her name pretty well, but possibly could have done more in a few scenes, as it sort of feels like they could have cast anyone of the same age in this role and they would have delivered, but she did well enough. Of course, the old cast are also back, Anthony Daniels as C3PO is just as irritating as he was 30 years ago and while it’s nice to see Peter Mahew back as Chewie, they really could have put any tall, thin guy into the furry costume and it wouldn’t have made any difference. Carrie Fisher is back as Leia and the while lines she had were entertaining and at times touching, she simply wasn’t in the movie enough. I won’t talk about Luke until the spoilers section, so let’s move on to Han. It’s nice to see grumpy old gramps Harrison Ford actually look enthusiastic and as if he is actually enjoying himself for a change. His performance surprisingly isn’t phoned in and he genuinely commits to the role just as much as he did 30 years ago. Also, out of the original returning cast, he is definitely in the movie most.
Now that we have discussed the light side, now let’s move onto the dark side. Personally I don’t think these characters are as strong as the protagonists. It’s not the fault of the actors, Domnall Gleason as Hux is great, super evil and almost Nazi-like, Andy Serkis as Snoke is intimidating in his performance also and Adam Driver as Kylo Ren is one of the best performances in the movie, showing sadness and anger, all while being an unhinged threatening presence. The problem here is that the villains in this movie just don’t have the same impact as the villains in the original , Hux and Ren are made out to be young and naïve and while Snoke is pulling the strings, but we only ever see him as a hologram and even then, we don’t see him all that much. It’s as if this is these villain’s origin story, but in A New Hope, the villains and the Empire already felt like an established, villainous organisation, whereas in this movie it is as if a bunch of amateurs have happened across a new death star (let’s not lie, that’s all that the Starkiller base is,) and they don’t really know what they are doing. And Captain Phasma? Hardly worth talking about, she is in two scenes and does nothing in either of them besides let herself get taken advantage of. So that’s a summary on how I felt about the characters in general, onto the movie as a whole.
I feel that Abrams has gotten the tone of this movie just right. It’s funny enough that it’s constantly entertaining and never boring and it’s serious enough that you feel a genuine, palpable threat throughout. The score is also fantastic, as is expected from John Williams and overall the effects are spot on also. I did have a slight problem with some of the CGI characters, namely Snoke, the tentacle monsters that show up briefly and the market owner that was in possession of the Falcon at the start of the movie played by Simon Pegg, but there were also a lot of puppets and practical effects were used and it really pays off in the overall look of the movie, no more crammed scenes of cartoon garbage like the prequels, just what matters. The pacing of this movie is very fast, some might say too fast, with Abrams not really giving the viewers time to breathe and digest what they just saw before throwing another dogfight or lightsaber battle at them, but hey, at least you can’t say it’s boring and I’m happy to say that there isn’t a senate discussion in sight. I really do feel like I have to see the movie again however before making an overall verdict and that is due to the extremely fast pacing and because of all of the significant events that happen nothing really stands out, which leaves a lack of meat on the bone. The story is well written however, the world is built well and the characters are all introduced well, but the story does follow a lot of the same beats as the original trilogy. Without giving anything away, the story is divided up into three distinct acts, with each taking place on a different planet followed by an epilogue at the end. There is a cantina scene, a robot carrying an important message to be delivered, Tie Fighter vs. X Wing dogfights and a death star-like weapon of mass destruction, there is even a trench run.
Okay, so I saw the movie again on Tuesday this week and while most of what I felt the first time I felt again, making a lot of the feelings I had after my first viewing more concrete, I did notice a few new things. Also, from this point on there will be spoilers.
Knowing what was coming before it did really helped the pacing of this movie, it was much easier to digest a second time, but at no point was it a chore to watch the film again. I also noticed a lot more lens flares this time, upon first viewing I thought that the only lens flare in the movie was when the Starkiller base fires it’s weapon, but there are in fact quite a few throughout the film. Also the end scene with Luke was a lot better the second time, it didn’t feel as awkward or drawn out and felt more like a fitting end to the movie, although if you ask me, Luke should have at least had a line. Also the revelation that Kylo Ren was actually Ben Solo, Han’s son and Han’s death scene at the hands of Ren were also better on second viewing. While Han’s death was somewhat predictable and probably could have been executed better, it was nice to have him in this movie for the time we got him and I’m sure Harrison Ford is more than happy to never have to play the character again. Also BB-8 is possibly even more likable the second time. Seeing the movie again I also gained a greater appreciation for the cinematography in it, with some awesome long shots showing off the dogfights and the First Order vs. Resistance action. I’m glad I got to see the movie a second time as it has upped my opinion of the movie and if you are a Star Wars fan, it’s something that I would strongly recommend you do.
First off, let’s talk about the new cast. All three of them are fantastic in their performances, with Daisy Ridley as Rey, John Boyega as Finn and Oscar Isaac as Poe Dameron respectively. Poe has the smallest role, which is my biggest and only complaint about the character, because he is awesome. He is funny, he’s an amazing pilot, he reeks of cool and he is the one character in this movie that I’d love to get a pint with. Finn is another new character, dealing with an inner conflict, (which I won’t ruin,) but is still likeable and relatable. Rey is arguably the most central of the three new main cast members and she delivers also, she sold the fairly bland character dealing with an exciting new adventure calling her name pretty well, but possibly could have done more in a few scenes, as it sort of feels like they could have cast anyone of the same age in this role and they would have delivered, but she did well enough. Of course, the old cast are also back, Anthony Daniels as C3PO is just as irritating as he was 30 years ago and while it’s nice to see Peter Mahew back as Chewie, they really could have put any tall, thin guy into the furry costume and it wouldn’t have made any difference. Carrie Fisher is back as Leia and the while lines she had were entertaining and at times touching, she simply wasn’t in the movie enough. I won’t talk about Luke until the spoilers section, so let’s move on to Han. It’s nice to see grumpy old gramps Harrison Ford actually look enthusiastic and as if he is actually enjoying himself for a change. His performance surprisingly isn’t phoned in and he genuinely commits to the role just as much as he did 30 years ago. Also, out of the original returning cast, he is definitely in the movie most.
Now that we have discussed the light side, now let’s move onto the dark side. Personally I don’t think these characters are as strong as the protagonists. It’s not the fault of the actors, Domnall Gleason as Hux is great, super evil and almost Nazi-like, Andy Serkis as Snoke is intimidating in his performance also and Adam Driver as Kylo Ren is one of the best performances in the movie, showing sadness and anger, all while being an unhinged threatening presence. The problem here is that the villains in this movie just don’t have the same impact as the villains in the original , Hux and Ren are made out to be young and naïve and while Snoke is pulling the strings, but we only ever see him as a hologram and even then, we don’t see him all that much. It’s as if this is these villain’s origin story, but in A New Hope, the villains and the Empire already felt like an established, villainous organisation, whereas in this movie it is as if a bunch of amateurs have happened across a new death star (let’s not lie, that’s all that the Starkiller base is,) and they don’t really know what they are doing. And Captain Phasma? Hardly worth talking about, she is in two scenes and does nothing in either of them besides let herself get taken advantage of. So that’s a summary on how I felt about the characters in general, onto the movie as a whole.
I feel that Abrams has gotten the tone of this movie just right. It’s funny enough that it’s constantly entertaining and never boring and it’s serious enough that you feel a genuine, palpable threat throughout. The score is also fantastic, as is expected from John Williams and overall the effects are spot on also. I did have a slight problem with some of the CGI characters, namely Snoke, the tentacle monsters that show up briefly and the market owner that was in possession of the Falcon at the start of the movie played by Simon Pegg, but there were also a lot of puppets and practical effects were used and it really pays off in the overall look of the movie, no more crammed scenes of cartoon garbage like the prequels, just what matters. The pacing of this movie is very fast, some might say too fast, with Abrams not really giving the viewers time to breathe and digest what they just saw before throwing another dogfight or lightsaber battle at them, but hey, at least you can’t say it’s boring and I’m happy to say that there isn’t a senate discussion in sight. I really do feel like I have to see the movie again however before making an overall verdict and that is due to the extremely fast pacing and because of all of the significant events that happen nothing really stands out, which leaves a lack of meat on the bone. The story is well written however, the world is built well and the characters are all introduced well, but the story does follow a lot of the same beats as the original trilogy. Without giving anything away, the story is divided up into three distinct acts, with each taking place on a different planet followed by an epilogue at the end. There is a cantina scene, a robot carrying an important message to be delivered, Tie Fighter vs. X Wing dogfights and a death star-like weapon of mass destruction, there is even a trench run.
Okay, so I saw the movie again on Tuesday this week and while most of what I felt the first time I felt again, making a lot of the feelings I had after my first viewing more concrete, I did notice a few new things. Also, from this point on there will be spoilers.
Knowing what was coming before it did really helped the pacing of this movie, it was much easier to digest a second time, but at no point was it a chore to watch the film again. I also noticed a lot more lens flares this time, upon first viewing I thought that the only lens flare in the movie was when the Starkiller base fires it’s weapon, but there are in fact quite a few throughout the film. Also the end scene with Luke was a lot better the second time, it didn’t feel as awkward or drawn out and felt more like a fitting end to the movie, although if you ask me, Luke should have at least had a line. Also the revelation that Kylo Ren was actually Ben Solo, Han’s son and Han’s death scene at the hands of Ren were also better on second viewing. While Han’s death was somewhat predictable and probably could have been executed better, it was nice to have him in this movie for the time we got him and I’m sure Harrison Ford is more than happy to never have to play the character again. Also BB-8 is possibly even more likable the second time. Seeing the movie again I also gained a greater appreciation for the cinematography in it, with some awesome long shots showing off the dogfights and the First Order vs. Resistance action. I’m glad I got to see the movie a second time as it has upped my opinion of the movie and if you are a Star Wars fan, it’s something that I would strongly recommend you do.
Daniel Boyd (1066 KP) rated Spectre (2015) in Movies
Jul 20, 2017
Well written (1 more)
Good direction
Mr Hinx (1 more)
Not enough Cristoph Waltz
As good as the last?
Contains spoilers, click to show
When Casino Royale released in 2006, it was to be a soft reboot of the franchise that showed viewers the events of Bond’s first mission and it strived to rectify some of the silly gadgets etc that were being over-used with Brosnan’s Bond. In my opinion, Casino Royale was a great film, it just wasn’t a Bond film. It done away with all of the silly gimmicks and cheesy one liners and was an introduction to a more grounded version of the iconic character, which made for a great spy thriller but not a great Bond movie. Then Quantum of Solace came out and literally nobody cared, not many people went to see it, it didn’t make much money at the box office and to this day I’ve still not seen that whole movie from start to finish and to be honest, I’m perfectly okay with that. Skyfall was the third Craig Bond movie to be released and it was a triumph. Finally Craig felt like he was actually playing Bond and not just some random hard ass military spy. It even flirted with the idea of gadgets, had a flamboyant supervillain and introduced a young, fresh faced Q, which was a nice touch. The movie ended with Silva killing Judi Dench’s M and Bond killing Silva, Ralph Fiennes was then appointed with the title of M and Naomi Harris was revealed to be the new Moneypenny. So with the last movie pleasing both long time Bond fans and newcomers alike, SPECTRE had a lot to live up to.
The movie opens with Bond in Mexico City, during the Day Of The Dead festival, Bond listens in on a meeting of two Mafioso and learns about a mysterious organisation hoping to achieve world domination and their illusive leader known as ‘The Pale King.’ He then blows up the building they are in and ends up in a chopper fight with one of the gangsters, whom he eventually kills. This leads into a stunning opening credits sequence, that really is one of the best I’ve seen, (even though the song is still crap.) This is an awesome intro and probably tops Skyfall’s intro which was also very cool.
The rest of the movie is a joy to a long time Bond fan like me. It checks off all of the boxes that make up a classic Bond movie. An awesome Aston Martin car chase – check, a big bad henchman who doesn’t say much but is very hard to kill – check, an effective use of gadgets and cheesy one liners – check, a supervillain that has an epic secret layer that he invites Bond to – check, Bond being strapped to an elaborate device in that secret layer and tortured – check. Now all of this is really well executed, but the problem with it is that it throws any of the gritty realism shown in the last three movies right out of the window, which like I say is perfectly okay, but it causes this movie to feel as if it is taking place in a separate universe from the last three. This is not a problem to me, I am more than happy to have a good old fashioned Bond movie back on our screens that isn’t afraid to shy away from the use of gadgets and witty quips and it’s a movie that actually handles it well unlike some of the naff late Brosnan movies. On the other hand though, I can totally see why some people would have a problem with this movie, especially if you aren’t a long time Bond fan and prefer Craig’s more realistic turn as Bond. If that is the case then this movie really won’t be for you and the chances are that you will leave the cinema leaving pretty disappointed.
Now, let’s forget for a minute that this is a 007 movie and just analyse it as a traditional piece of cinema. First off, I’m really glad that they brought Sam Mendes back to direct this one, he is very obviously a passionate Bond fan and I think he has done a great job with both Bond movies that he has made and I also really hope they can keep him on to do at least one more movie in the series. This is also a well written movie, its script is witty and fast paced, while keeping making sure that although the audience is kept intrigued, they are never lost in whatever is going on. The cinematography in this movie is also great, besides a shaky cam chase sequence during the opening of the movie, I’d actually say that this is a masterfully shot movie. Hoyte Van Hoytema was the principle of photography for this movie and that guy really likes his eye pleasing shots and his use of the rule of thirds, which is especially evident in the funeral scene where Monica Belluci is introduced. There were two Bond girls in this movie and they were both serviceable, Belluci was really only there for exposition, but Lea Seadoux did a good job with her more fleshed out role.
Now, I want to talk about the main villain in the movie, played by the incredible Christophe Waltz. When he is in the movie, he steals every scene, however that leads me on to a problem I have with the movie. He is introduced near the beginning of the movie, within the first half hour, then a good hour passes before he is reintroduced, and although what is going on during that hour is entertaining, when you have already introduced a villain played by the master of playing villains that is Mr Waltz, it’s hard not to wonder when he is going to be back in the movie. Also I feel that this movie is quite long, possibly due to the large number of different locales and although it is actually only a few more minutes longer than Skyfall, Skyfall didn’t feel that long and this movie feels a lot longer. Also Mr Hinx is a pretty rubbish henchman, he is as forgetful as Jaws and Oddjob were memorable and doesn’t have a line until the last fight with Bond, I felt he was just very underused.
Now I’m going to go into spoiler territory, so if you haven’t seen the film yet, you may want to jump to the end of the review. Okay, we all good? Well turns out Christophe Waltz is actually the new Blofeld, which really isn’t surprising since he is the head of SPECTRE. What did annoy me a little, is the fact that he was Bond’s step-brother, kind of? But whatever, I can live with it. Also, although the villains lair was kind of a trope and wasn’t really used all too much before it was blown up, once Blofeld got his scar, he did look the part. So that is another classic Bond thing to introduce, Blofeld is to Bond what The Joker is to Batman and it is nice to have the arch nemesis introduced. One of the downsides to introducing Blofeld though is that it was obvious they weren’t going to kill him off, at least not in this movie, also Mr Hinx’s death was also rather anticlimactic. Andrew Scott’s character C was revealed to be a spy for SPECTRE and again had a fairly anticlimactic death, but he was perfectly serviceable in the role.
Overall I did enjoy the movie a great deal and although this is a review based on my opinion, I do somewhat have to take into consideration the bigger picture and how other fans will feel upon seeing this film. Like I have said, I think fans of old fashioned traditional Bond will love this movie as it finally fulfils the criteria for it to be labelled a ‘Bond’ movie, I can definitely see a lot of people being disappointed in the film if they go in expected another realistic spy thriller.
The movie opens with Bond in Mexico City, during the Day Of The Dead festival, Bond listens in on a meeting of two Mafioso and learns about a mysterious organisation hoping to achieve world domination and their illusive leader known as ‘The Pale King.’ He then blows up the building they are in and ends up in a chopper fight with one of the gangsters, whom he eventually kills. This leads into a stunning opening credits sequence, that really is one of the best I’ve seen, (even though the song is still crap.) This is an awesome intro and probably tops Skyfall’s intro which was also very cool.
The rest of the movie is a joy to a long time Bond fan like me. It checks off all of the boxes that make up a classic Bond movie. An awesome Aston Martin car chase – check, a big bad henchman who doesn’t say much but is very hard to kill – check, an effective use of gadgets and cheesy one liners – check, a supervillain that has an epic secret layer that he invites Bond to – check, Bond being strapped to an elaborate device in that secret layer and tortured – check. Now all of this is really well executed, but the problem with it is that it throws any of the gritty realism shown in the last three movies right out of the window, which like I say is perfectly okay, but it causes this movie to feel as if it is taking place in a separate universe from the last three. This is not a problem to me, I am more than happy to have a good old fashioned Bond movie back on our screens that isn’t afraid to shy away from the use of gadgets and witty quips and it’s a movie that actually handles it well unlike some of the naff late Brosnan movies. On the other hand though, I can totally see why some people would have a problem with this movie, especially if you aren’t a long time Bond fan and prefer Craig’s more realistic turn as Bond. If that is the case then this movie really won’t be for you and the chances are that you will leave the cinema leaving pretty disappointed.
Now, let’s forget for a minute that this is a 007 movie and just analyse it as a traditional piece of cinema. First off, I’m really glad that they brought Sam Mendes back to direct this one, he is very obviously a passionate Bond fan and I think he has done a great job with both Bond movies that he has made and I also really hope they can keep him on to do at least one more movie in the series. This is also a well written movie, its script is witty and fast paced, while keeping making sure that although the audience is kept intrigued, they are never lost in whatever is going on. The cinematography in this movie is also great, besides a shaky cam chase sequence during the opening of the movie, I’d actually say that this is a masterfully shot movie. Hoyte Van Hoytema was the principle of photography for this movie and that guy really likes his eye pleasing shots and his use of the rule of thirds, which is especially evident in the funeral scene where Monica Belluci is introduced. There were two Bond girls in this movie and they were both serviceable, Belluci was really only there for exposition, but Lea Seadoux did a good job with her more fleshed out role.
Now, I want to talk about the main villain in the movie, played by the incredible Christophe Waltz. When he is in the movie, he steals every scene, however that leads me on to a problem I have with the movie. He is introduced near the beginning of the movie, within the first half hour, then a good hour passes before he is reintroduced, and although what is going on during that hour is entertaining, when you have already introduced a villain played by the master of playing villains that is Mr Waltz, it’s hard not to wonder when he is going to be back in the movie. Also I feel that this movie is quite long, possibly due to the large number of different locales and although it is actually only a few more minutes longer than Skyfall, Skyfall didn’t feel that long and this movie feels a lot longer. Also Mr Hinx is a pretty rubbish henchman, he is as forgetful as Jaws and Oddjob were memorable and doesn’t have a line until the last fight with Bond, I felt he was just very underused.
Now I’m going to go into spoiler territory, so if you haven’t seen the film yet, you may want to jump to the end of the review. Okay, we all good? Well turns out Christophe Waltz is actually the new Blofeld, which really isn’t surprising since he is the head of SPECTRE. What did annoy me a little, is the fact that he was Bond’s step-brother, kind of? But whatever, I can live with it. Also, although the villains lair was kind of a trope and wasn’t really used all too much before it was blown up, once Blofeld got his scar, he did look the part. So that is another classic Bond thing to introduce, Blofeld is to Bond what The Joker is to Batman and it is nice to have the arch nemesis introduced. One of the downsides to introducing Blofeld though is that it was obvious they weren’t going to kill him off, at least not in this movie, also Mr Hinx’s death was also rather anticlimactic. Andrew Scott’s character C was revealed to be a spy for SPECTRE and again had a fairly anticlimactic death, but he was perfectly serviceable in the role.
Overall I did enjoy the movie a great deal and although this is a review based on my opinion, I do somewhat have to take into consideration the bigger picture and how other fans will feel upon seeing this film. Like I have said, I think fans of old fashioned traditional Bond will love this movie as it finally fulfils the criteria for it to be labelled a ‘Bond’ movie, I can definitely see a lot of people being disappointed in the film if they go in expected another realistic spy thriller.