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Movie Metropolis (309 KP) rated The Meg (2018) in Movies
Jun 10, 2019
Jurassic Shark
Ah the shark attack movie. A genre that has over the years changed itself from impactful horror suspense thriller to cheesy, throwaway popcorn entertainment. Apart from when Steven Spielberg changed cinema forever with his 1975 masterpiece, Jaws, audiences have been given few treats in the decades that followed.
Deep Blue Sea was a tasteful homage to its forbearer, but even that was riddled in cliché and was much more of a brain-numbing creature feature than Jaws was. And then came Sharknado and its raft of dreadfully titled sequels. Look back through cinema history and you’ll see that sharks are big business in Hollywood.
Now, as we enter the final stages of 2018, Jason Statham stars in perhaps the most preposterous shark movie yet, yes, even more preposterous than Sharknado 3: Oh Hell No! But sometimes preposterous can be fun. Is that the case here?
A massive creature attacks a deep-sea submersible, leaving it disabled and trapping the crew at the bottom of the Pacific Ocean. With time running out, rescue diver Jonas Taylor (Statham) must save the crew and the ocean itself from an unimaginable threat – a 75-foot-long prehistoric shark known as the Megalodon.
Jon Turteltaub, who directed delicacies like National Treasure and Cool Runnings takes to The Meg like, well a duck to water. It’s filled with tantalising action sequences and Jason Statham spouting marine biology jargon including a scene in which the Hollywood star is shirtless whilst spouting marine biology jargon. What more could you want?
Quite a bit as it happens. Despite a solid opening act that sets up the dark humour of the film nicely, The Meg is a bit of a bore. Populated by bland characters, uninspiring CGI and plot holes so big they’d make the Marianas trench blush. It’s all a bit of a mess to be honest.
The Meg is one of a new breed of Hollywood blockbusters that has been made to pander to the new Chinese audience and while this has worked well for other high-budget movies like Pacific Rim, it doesn’t work quite as well here. Li Bingbing stars as marine biologist Suyin Zhang and whilst she performs well in her native tongue, her English-spoken scenes are stilted and lack any depth of emotion whatsoever.
In fact, outside of Statham, the rest of the cast are complete non-entities. Rainn Wilson provides some comic relief as a financial investor, but it’s all very B-movie and clearly not in the way it was intended. You see, when you know you have a ridiculous premise, the best thing to do is run with it and create the most insanely bizarre film in existence. Unfortunately, The Meg takes itself far too seriously and this makes it feel much longer than its running time would suggest. They could’ve gotten away with calling it ‘Jason Statham Shark Movie’ as that’ pretty much the premise in a nutshell.
It’s occasionally fun and could have been smashing fun, but in reality, it’s a bit of a damp squib
At a cost just shy of $200million, you’d expect to have Jurassic World: Fallen Kingdom levels of special effects. They actually cost around the same to produce. In truth, The Meg can’t hold a candle to its land-based prehistoric cousin. The CGI is passable at best and really dreadful at worst and this is a real shame. When the main selling point of your film is a 75-foot shark, you really need to get it spot on.
Besides a couple of cool shots, one of which is the featured image for this particular review (see the image at the top of the header banner), the cinematography is absolutely uninspired.
When you have a film that features so much ocean, there are a multitude of amazing things you could achieve with the shot choices. Unfortunately, none of them have been realised here.
Elsewhere, there is something a little more sinister afoot. Sharks already get a seriously bad reputation and this film does nothing to quash that. With many species now unfortunately endangered, films like The Meg could do more harm than good. It portrays all sharks as merciless killers – proficient and deadly. If it did want to be a serious shark attack flick, it should have relied less on goofy comedy and more on raising awareness for the creatures.
We’ve now had three ‘creature feature’ films thus far into 2018. Starting with Rampage earlier in the year, Jurassic World: Fallen Kingdom in June and now The Meg, and whilst each of them brings something unique to the table, The Meg sinks to the bottom of the seafloor. It’s occasionally fun and could have been smashing fun, but in reality, it’s a bit of a damp squib. The Meg is a shark movie without any bite.
https://moviemetropolis.net/2018/08/11/the-meg-review-jurassic-shark/
Deep Blue Sea was a tasteful homage to its forbearer, but even that was riddled in cliché and was much more of a brain-numbing creature feature than Jaws was. And then came Sharknado and its raft of dreadfully titled sequels. Look back through cinema history and you’ll see that sharks are big business in Hollywood.
Now, as we enter the final stages of 2018, Jason Statham stars in perhaps the most preposterous shark movie yet, yes, even more preposterous than Sharknado 3: Oh Hell No! But sometimes preposterous can be fun. Is that the case here?
A massive creature attacks a deep-sea submersible, leaving it disabled and trapping the crew at the bottom of the Pacific Ocean. With time running out, rescue diver Jonas Taylor (Statham) must save the crew and the ocean itself from an unimaginable threat – a 75-foot-long prehistoric shark known as the Megalodon.
Jon Turteltaub, who directed delicacies like National Treasure and Cool Runnings takes to The Meg like, well a duck to water. It’s filled with tantalising action sequences and Jason Statham spouting marine biology jargon including a scene in which the Hollywood star is shirtless whilst spouting marine biology jargon. What more could you want?
Quite a bit as it happens. Despite a solid opening act that sets up the dark humour of the film nicely, The Meg is a bit of a bore. Populated by bland characters, uninspiring CGI and plot holes so big they’d make the Marianas trench blush. It’s all a bit of a mess to be honest.
The Meg is one of a new breed of Hollywood blockbusters that has been made to pander to the new Chinese audience and while this has worked well for other high-budget movies like Pacific Rim, it doesn’t work quite as well here. Li Bingbing stars as marine biologist Suyin Zhang and whilst she performs well in her native tongue, her English-spoken scenes are stilted and lack any depth of emotion whatsoever.
In fact, outside of Statham, the rest of the cast are complete non-entities. Rainn Wilson provides some comic relief as a financial investor, but it’s all very B-movie and clearly not in the way it was intended. You see, when you know you have a ridiculous premise, the best thing to do is run with it and create the most insanely bizarre film in existence. Unfortunately, The Meg takes itself far too seriously and this makes it feel much longer than its running time would suggest. They could’ve gotten away with calling it ‘Jason Statham Shark Movie’ as that’ pretty much the premise in a nutshell.
It’s occasionally fun and could have been smashing fun, but in reality, it’s a bit of a damp squib
At a cost just shy of $200million, you’d expect to have Jurassic World: Fallen Kingdom levels of special effects. They actually cost around the same to produce. In truth, The Meg can’t hold a candle to its land-based prehistoric cousin. The CGI is passable at best and really dreadful at worst and this is a real shame. When the main selling point of your film is a 75-foot shark, you really need to get it spot on.
Besides a couple of cool shots, one of which is the featured image for this particular review (see the image at the top of the header banner), the cinematography is absolutely uninspired.
When you have a film that features so much ocean, there are a multitude of amazing things you could achieve with the shot choices. Unfortunately, none of them have been realised here.
Elsewhere, there is something a little more sinister afoot. Sharks already get a seriously bad reputation and this film does nothing to quash that. With many species now unfortunately endangered, films like The Meg could do more harm than good. It portrays all sharks as merciless killers – proficient and deadly. If it did want to be a serious shark attack flick, it should have relied less on goofy comedy and more on raising awareness for the creatures.
We’ve now had three ‘creature feature’ films thus far into 2018. Starting with Rampage earlier in the year, Jurassic World: Fallen Kingdom in June and now The Meg, and whilst each of them brings something unique to the table, The Meg sinks to the bottom of the seafloor. It’s occasionally fun and could have been smashing fun, but in reality, it’s a bit of a damp squib. The Meg is a shark movie without any bite.
https://moviemetropolis.net/2018/08/11/the-meg-review-jurassic-shark/
Scottish Gold
Neil D. L. Clark, Alison Sheridan and Donal Bateson
Book
Gold has been an important part of Scottish heritage for millennia and a new mine will shortly open...
Andy K (10826 KP) rated Creature from the Black Lagoon (1954) in Movies
Sep 22, 2019
The creature lurks!
In the Amazon jungle, a prehistoric amphibian claw fossil is found prodding local scientists to investigate its origins. They decide on an expedition to gain more information and possibly locate its origins.
The journey is a dangerous one figuring out where to find the mysterious lagoon which is locked in a desolate location within the tropical jungle. Their undersea adventures are met with initial disappoint only locating some interesting plant and animal life.
Within the depths on the lagoon, a strange creature has taken notice of his new guests and is not too happy about it. He lurks submerged within the deep watching and waiting for his opportunity to strike. He ventures close by to gather information and figure out his opponents' vulnerabilities. He also notices the pretty girl among the crew of men.
After a few encounters with the creature, the scientists grow increasingly concerned after the creature has had his way with a few of them, so they attempt to make their escape. Somehow, a large fallen tree is now blocking their path which was clear when they arrived at the lagoon.
There will be an ultimate standoff to secure their release or the demise of the creature.
The look of this film is plain remarkable. This has to be one of the earliest movies to utilize extensive underwater footage and it is very believable. The cinematography for the time period is both beautiful and menacing when needed in glorious black and white.
Obviously, we are talking 1950s special effects here; however, the creature itself stands the test of time. I am not sure how the man in the rubber sit was able to not only see what he was doing, swim quickly in and under water as well as jump into the water while on fire at one point. The mask also was able to move the creature's mouth up and down as well as look like he was breathing while out of the water using his gills. The effect worked really well.
This film was made at a time when the previous Universal Studios monster films had run their course in the 1930s and 1940s, but were not yet into the ultra B movie era in the 1950s and beyond.
If Universal ever gets back to its current "Monster" universe after the mediocre Tom Cruise "Mummy" film, I'm sure the creature will rise again. Until then, enjoy this classic creature gem.
The journey is a dangerous one figuring out where to find the mysterious lagoon which is locked in a desolate location within the tropical jungle. Their undersea adventures are met with initial disappoint only locating some interesting plant and animal life.
Within the depths on the lagoon, a strange creature has taken notice of his new guests and is not too happy about it. He lurks submerged within the deep watching and waiting for his opportunity to strike. He ventures close by to gather information and figure out his opponents' vulnerabilities. He also notices the pretty girl among the crew of men.
After a few encounters with the creature, the scientists grow increasingly concerned after the creature has had his way with a few of them, so they attempt to make their escape. Somehow, a large fallen tree is now blocking their path which was clear when they arrived at the lagoon.
There will be an ultimate standoff to secure their release or the demise of the creature.
The look of this film is plain remarkable. This has to be one of the earliest movies to utilize extensive underwater footage and it is very believable. The cinematography for the time period is both beautiful and menacing when needed in glorious black and white.
Obviously, we are talking 1950s special effects here; however, the creature itself stands the test of time. I am not sure how the man in the rubber sit was able to not only see what he was doing, swim quickly in and under water as well as jump into the water while on fire at one point. The mask also was able to move the creature's mouth up and down as well as look like he was breathing while out of the water using his gills. The effect worked really well.
This film was made at a time when the previous Universal Studios monster films had run their course in the 1930s and 1940s, but were not yet into the ultra B movie era in the 1950s and beyond.
If Universal ever gets back to its current "Monster" universe after the mediocre Tom Cruise "Mummy" film, I'm sure the creature will rise again. Until then, enjoy this classic creature gem.
Hazel (1853 KP) rated The Murder of Adam and Eve in Books
Dec 17, 2018
<i>This eBook was provided by the publisher via NetGalley in exchange for an honest review
The Murder of Adam and Eve</i> by William Dietrich is a young adult, science fiction thriller combining aliens and time travel. What started out as sixteen year old Nick Brynner researching for his History Day project on an out of bounds island, leads to him falling through a wormhole, meeting an alien – a Xu, and eventually finding himself in prehistoric Africa.
Before finding himself in a completely different era, Nick meets a biology-loving teenager, Eleanor Terrell, who tells him she had been abducted by aliens. Initially thinking she is crazy, Nick believes her once one of the said aliens appears to them and claims they have been chosen to try and save mankind. The Xu intend to wipe out humanity by travelling back in time and killing the two people from whom the human race descend from – the people named Adam and Eve in the bible. However they are giving Nick and Ellie a final chance to prevent this from happening.
Once transported to ancient Africa, Nick and Ellie start a desperate search for Adam and Eve in order to protect them from the Xu. But in order to do this they need to be able to take care of themselves in a place where water, food and shelter are not easily come by. Once locating the people they seek for they begin to realize the enormity of the task they have been given; whatever they do will have a massive impact on the future of the world.
<i>The Murder of Adam and Eve</i> is an interesting concept that really gets you thinking about the way in which the world has developed. Despite the usage of the biblical names Adam and Eve this book is not based on religious theory at all. It is a science-based idea maintaining that the human race can eventually be traced back to two people.
Many readers may be able to relate to both Nick and Ellie’s personalities. Nick in particular is a quiet, unnoticeable boy without any great talent, however during the book he grows into a more confident person and becomes the leader needed in order to save mankind.
Overall this fast paced book is fun to read. Although a little too far-fetched to take seriously, it makes the reader think more about the ways humans have behaved over the years but also highlights the positives and our ability to make things and learn. The clash of the two different time periods makes it a thought-provoking novel that many teenagers will love to read.
The Murder of Adam and Eve</i> by William Dietrich is a young adult, science fiction thriller combining aliens and time travel. What started out as sixteen year old Nick Brynner researching for his History Day project on an out of bounds island, leads to him falling through a wormhole, meeting an alien – a Xu, and eventually finding himself in prehistoric Africa.
Before finding himself in a completely different era, Nick meets a biology-loving teenager, Eleanor Terrell, who tells him she had been abducted by aliens. Initially thinking she is crazy, Nick believes her once one of the said aliens appears to them and claims they have been chosen to try and save mankind. The Xu intend to wipe out humanity by travelling back in time and killing the two people from whom the human race descend from – the people named Adam and Eve in the bible. However they are giving Nick and Ellie a final chance to prevent this from happening.
Once transported to ancient Africa, Nick and Ellie start a desperate search for Adam and Eve in order to protect them from the Xu. But in order to do this they need to be able to take care of themselves in a place where water, food and shelter are not easily come by. Once locating the people they seek for they begin to realize the enormity of the task they have been given; whatever they do will have a massive impact on the future of the world.
<i>The Murder of Adam and Eve</i> is an interesting concept that really gets you thinking about the way in which the world has developed. Despite the usage of the biblical names Adam and Eve this book is not based on religious theory at all. It is a science-based idea maintaining that the human race can eventually be traced back to two people.
Many readers may be able to relate to both Nick and Ellie’s personalities. Nick in particular is a quiet, unnoticeable boy without any great talent, however during the book he grows into a more confident person and becomes the leader needed in order to save mankind.
Overall this fast paced book is fun to read. Although a little too far-fetched to take seriously, it makes the reader think more about the ways humans have behaved over the years but also highlights the positives and our ability to make things and learn. The clash of the two different time periods makes it a thought-provoking novel that many teenagers will love to read.
JT (287 KP) rated Godzilla (2014) in Movies
Mar 23, 2020
Does what it says on the tin
Big action blockbusters probably don’t get much bigger than this, certainly, the budgets don’t. Just ask Gareth Edwards, who is making his second feature (again about monsters) brings to life one of the films most iconic.
Edwards as a director landed on peoples radar with his 2010 micro-budgeted Monsters which drew on strong character development and their ongoing relationships in the aftermath of an alien invasion. In this reboot, which if there was ever a need for a remake this might well have been it, Edwards plumps for well crafted central characters while teasing us with glimpses of prehistoric beings saving the money shots for the big action set pieces.
In an opening credits history lesson which gives us a background into the creation of the gargantuan predator, and the reason for all that nuclear testing, we are fast-forwarded to 1999 was the discovery of giant remains sparks fears that something else has been awoken and ready to cause some havoc.
I wasn’t particularly blown away by this one, the first half is exceptional as Cranston’s Joe Brody is encapsulated in a collapsing nuclear power plant disaster and then goes a bit crackpot as he looks to unearth his theory that the government are trying to cover something up.
Once the dust settles on that and the force of nature have revealed themselves in the shape of Godzilla and his foe the M.U.TO.s (Massive Unidentified Terrestrial Objects) there is little to do but sit back and watch the carnage unfurl.
With so much going on the character performances are practically dwarfed by the 350 ft beasts going toe to toe, and you really pay little attention to what is going on in the background. Some of the cast add little if anything which is a shame, Ken Watanabe does a lot of starring into space with his jaw-dropping onto the floor. His partner in science Sally Hawkins merely attempts to add snippets of useless information and poor Elizabeth Olsen is reduced to a bit part love interest.
Taylor-Johnson looks suitably beefed up and manages to hold his own, taking centre stage to save the world from possible annihilation, as if that hasn’t already been achieved by the Dawrinesque nuclear creation. There are parts within the film that are ludicrous, and parts that you can stare in amazement at none more so than the final fight which if anything is certainly worth the admission price.
Visually as you would expect it’s a stunning film but is somewhat disjointed throughout. There were enough subtle references to suggest a sequel (which there was) and that Gareth Edwards will in someway get another crack and wreaking havoc somewhere else (which he didn’t).
Edwards as a director landed on peoples radar with his 2010 micro-budgeted Monsters which drew on strong character development and their ongoing relationships in the aftermath of an alien invasion. In this reboot, which if there was ever a need for a remake this might well have been it, Edwards plumps for well crafted central characters while teasing us with glimpses of prehistoric beings saving the money shots for the big action set pieces.
In an opening credits history lesson which gives us a background into the creation of the gargantuan predator, and the reason for all that nuclear testing, we are fast-forwarded to 1999 was the discovery of giant remains sparks fears that something else has been awoken and ready to cause some havoc.
I wasn’t particularly blown away by this one, the first half is exceptional as Cranston’s Joe Brody is encapsulated in a collapsing nuclear power plant disaster and then goes a bit crackpot as he looks to unearth his theory that the government are trying to cover something up.
Once the dust settles on that and the force of nature have revealed themselves in the shape of Godzilla and his foe the M.U.TO.s (Massive Unidentified Terrestrial Objects) there is little to do but sit back and watch the carnage unfurl.
With so much going on the character performances are practically dwarfed by the 350 ft beasts going toe to toe, and you really pay little attention to what is going on in the background. Some of the cast add little if anything which is a shame, Ken Watanabe does a lot of starring into space with his jaw-dropping onto the floor. His partner in science Sally Hawkins merely attempts to add snippets of useless information and poor Elizabeth Olsen is reduced to a bit part love interest.
Taylor-Johnson looks suitably beefed up and manages to hold his own, taking centre stage to save the world from possible annihilation, as if that hasn’t already been achieved by the Dawrinesque nuclear creation. There are parts within the film that are ludicrous, and parts that you can stare in amazement at none more so than the final fight which if anything is certainly worth the admission price.
Visually as you would expect it’s a stunning film but is somewhat disjointed throughout. There were enough subtle references to suggest a sequel (which there was) and that Gareth Edwards will in someway get another crack and wreaking havoc somewhere else (which he didn’t).
Lee (2222 KP) rated The Meg (2018) in Movies
Aug 14, 2018
The acting is awful - from everyone (1 more)
The script is terrible
Fun action movie
If you've seen any of the posters or trailers for The Meg, you know exactly what you're in for. It's basically Jason Statham versus a big ass prehistoric shark, and that's pretty much all you need to know. If you're expecting a decent script, without any clichés, or any kind of decent acting for that matter, then you're likely to be disappointed. This movie pretty much does what it says on the tin.
Jason Statham stars as Jonas Taylor, currently retired from deep sea diving hero work and living a chilled life in Thailand, beer permanently in his hand. Five years earlier, Jonas was involved in an underwater operation which ended badly - a mysterious sea creature put a huge dent in the side of a submersible and Jonas had to make the painful decision to leave some men behind in order to save the rest. But when a hi-tech marine research station sends a crew down more than 10,000 metres into the ocean, beyond an icy barrier of hydrogen sulphide and into unexplored waters, they encounter a 70ft megalodon and find themselves trapped. Time for Jonas, the only man capable of rescuing them, to be lured out out of retirement. Unfortunately though, as the submersibles return to the surface, they unknowingly create a thermal pathway through the icy cold layer, and the meg follows them back up.
By this point we're nearly half way through the movie, and we've so far only caught a couple of glimpses of the meg and the kind of damage it can cause. The rest of the time up until now has been filled with introducing us to a large number of dull characters, both on the research station and the submersible. To be fair though, the script is terrible - full of clichés and failed attempts at humour and one-liners, but even then the delivery from literally everyone involved is pretty awful, the acting on show here is shocking. When things do kick off with the shark though, it's less talk more action, and that's when the film is at its most enjoyable.
Many of the action scenes are, as you'd expect, ridiculous, over the top and wildly enjoyable. Jonas tries 'sneaking up' on the meg in order to fire it with a tracking dart, only for the meg to give chase as Jonas is rapidly winched back in, swerving to avoid the huge jaws. Later on, the meg finds its way to a densely populated beach. Hundreds of nicely arranged bathers in their rubber rings, men rolling around in zorbs, people on jet skis - the perfect scenario for mass panic and carnage.
Overall, this is a good fun action movie which really should have focused a little more on a tighter script. Still worth a watch though.
Jason Statham stars as Jonas Taylor, currently retired from deep sea diving hero work and living a chilled life in Thailand, beer permanently in his hand. Five years earlier, Jonas was involved in an underwater operation which ended badly - a mysterious sea creature put a huge dent in the side of a submersible and Jonas had to make the painful decision to leave some men behind in order to save the rest. But when a hi-tech marine research station sends a crew down more than 10,000 metres into the ocean, beyond an icy barrier of hydrogen sulphide and into unexplored waters, they encounter a 70ft megalodon and find themselves trapped. Time for Jonas, the only man capable of rescuing them, to be lured out out of retirement. Unfortunately though, as the submersibles return to the surface, they unknowingly create a thermal pathway through the icy cold layer, and the meg follows them back up.
By this point we're nearly half way through the movie, and we've so far only caught a couple of glimpses of the meg and the kind of damage it can cause. The rest of the time up until now has been filled with introducing us to a large number of dull characters, both on the research station and the submersible. To be fair though, the script is terrible - full of clichés and failed attempts at humour and one-liners, but even then the delivery from literally everyone involved is pretty awful, the acting on show here is shocking. When things do kick off with the shark though, it's less talk more action, and that's when the film is at its most enjoyable.
Many of the action scenes are, as you'd expect, ridiculous, over the top and wildly enjoyable. Jonas tries 'sneaking up' on the meg in order to fire it with a tracking dart, only for the meg to give chase as Jonas is rapidly winched back in, swerving to avoid the huge jaws. Later on, the meg finds its way to a densely populated beach. Hundreds of nicely arranged bathers in their rubber rings, men rolling around in zorbs, people on jet skis - the perfect scenario for mass panic and carnage.
Overall, this is a good fun action movie which really should have focused a little more on a tighter script. Still worth a watch though.
Gareth von Kallenbach (980 KP) rated Ice Age 2: The Meltdown (2006) in Movies
Aug 14, 2019
It has been almost four years since audiences last embraced the animated misadventures of a pack of prehistoric animals in the runaway smash Ice Age.
As the calendar moves into spring the multiplexes throughout the land prepare to welcome the arrival of the early summer season films which like the warming of spring also indicates a warming at the box office as scores of moviegoers look forward to the latest releases which often contain a fair number of sequels.
In the new film, Ice Age 2: The Meltdown things are going well for the animals as they frolic the days away in a scenic glacier. Sid (John Leguizamo) has taken it upon himself to open a camp for younger animals much to the dismay of his friends Manny (Ray Romano), and Diego (Denis Leary).
Things take a turn for the worse when a rapidly warming environment threatens to melt the ice and flood the valley which results in a mass migration of the animals to a new locale where they will be safe from the flooding.
Along the way, Manny, Diego, and Sid encounter an odd trio of refugees, a family of possums. What makes this family different is that one of the possums named Ellie (Queen Latifah) is actually a Mammoth who thinks she is a possum after she was taken in at an early age by the two brothers Crash (Seann William Scott) and Eddie (Josh Peck).
Along the way this eclectic band of creatures must bond with one another as they face all manner of obstacles ranging from the elements to dangerous animals and the growing bond/tensions between Manny and Ellie who Manny fears may be the last two mammoths left.
Of course it would not be an Ice Age film without the misadventures of Scrat, the loveable squirrel from the first film who is still trying desperately to secure his beloved acorn and has all manner of misadventures as a result. As good as the other characters are the comedic interludes with Scrat are the funniest moments in the film which is saying something as there are many, many shining moments in the film.
The animation is first rate and is greatly improved from the first film as the animal’s now show greater texture and motion in their furs as well as a realistic weight transfer when they walk.
While this is not vital to the film, it does show a level of attention and detail that infuses the film with a vitality and flair not often shown in family entertainment that did not come from Disney.
Fox is at the top of their game, and “Ice Age: The Meltdown” is a further reminder that Disney no longer has a lock on animated family classics as this is a film that will delight viewers of all ages.
As the calendar moves into spring the multiplexes throughout the land prepare to welcome the arrival of the early summer season films which like the warming of spring also indicates a warming at the box office as scores of moviegoers look forward to the latest releases which often contain a fair number of sequels.
In the new film, Ice Age 2: The Meltdown things are going well for the animals as they frolic the days away in a scenic glacier. Sid (John Leguizamo) has taken it upon himself to open a camp for younger animals much to the dismay of his friends Manny (Ray Romano), and Diego (Denis Leary).
Things take a turn for the worse when a rapidly warming environment threatens to melt the ice and flood the valley which results in a mass migration of the animals to a new locale where they will be safe from the flooding.
Along the way, Manny, Diego, and Sid encounter an odd trio of refugees, a family of possums. What makes this family different is that one of the possums named Ellie (Queen Latifah) is actually a Mammoth who thinks she is a possum after she was taken in at an early age by the two brothers Crash (Seann William Scott) and Eddie (Josh Peck).
Along the way this eclectic band of creatures must bond with one another as they face all manner of obstacles ranging from the elements to dangerous animals and the growing bond/tensions between Manny and Ellie who Manny fears may be the last two mammoths left.
Of course it would not be an Ice Age film without the misadventures of Scrat, the loveable squirrel from the first film who is still trying desperately to secure his beloved acorn and has all manner of misadventures as a result. As good as the other characters are the comedic interludes with Scrat are the funniest moments in the film which is saying something as there are many, many shining moments in the film.
The animation is first rate and is greatly improved from the first film as the animal’s now show greater texture and motion in their furs as well as a realistic weight transfer when they walk.
While this is not vital to the film, it does show a level of attention and detail that infuses the film with a vitality and flair not often shown in family entertainment that did not come from Disney.
Fox is at the top of their game, and “Ice Age: The Meltdown” is a further reminder that Disney no longer has a lock on animated family classics as this is a film that will delight viewers of all ages.
Gareth von Kallenbach (980 KP) rated The Croods (2013) in Movies
Aug 7, 2019
When seeing the trailers for this film it seemed like so many other stories that have come before (Ice Age: Continental Drift for example). I figured that this was just the next shameless animated money grab by studios attempting to cash in on those parents who take their young children to each new animated film no matter what it is. That being said, the trailer for this film does not do it justice. Seriously, 20th Century Fox is doing Dreamworks Animation a disservice by not providing better trailers and promotion for The Croods. While the complete package of this film is not the best animated film, it is more than just a mere money grab.
The film opens with Eep, voiced by Emma Stone who introduces us to her cave family led by her overly protective father Grug (Nicolas Cage) and shares her rebellious desire to follow her curiosity and see more of the world. The scene quickly shifts to the family’s quest to find some food that plays like a fast paced prehistoric game of football that clues us in on each of the characters’ strengths and weaknesses. From this point forward the film does a fantastic job of keeping a steady pace that will keep both parents and young children’s interest. As I am sure most parents know, you can always tell how good a children’s movie is based on how fast the young ones lose interest and start to become fidgety. Right from the start, my girlfriend’s three year-old son was attentively glued to his seat. Also I did not notice any of the other children in the theater talking or making noise which is usually a sign of a good children’s film.
Keeping with the fast paced action we are introduced to Guy voiced by Ryan Reynolds. Guy is traveling to high ground in an effort to escape the end of the world caused by earthquakes and lava. Unlike The Croods who are simple minded cavemen, Guy has a brain and is constantly introducing the family to new ideas like fire, shoes and umbrellas. His adventurous spirit is a foil to Grug’s living in constant fear of the unknown in order to stay alive. And while the family starts to fall for Guy’s spirit, they go on an adventure not only to find safety but to finally live.
The voice acting is solid across the board. Emma Stone really shines as the rebellious teenager and Nicolas Cage gives one of his better performances in years. Ryan Reynolds is accompanied with his sloth sidekick “Belt” who provides some of the most memorable comedic moments in the film. Together, along with the other supporting actors in this film, you have several inspired performances. It is these performances that appeal to the adults in the audience and make the film memorable and fun for all ages.
The film opens with Eep, voiced by Emma Stone who introduces us to her cave family led by her overly protective father Grug (Nicolas Cage) and shares her rebellious desire to follow her curiosity and see more of the world. The scene quickly shifts to the family’s quest to find some food that plays like a fast paced prehistoric game of football that clues us in on each of the characters’ strengths and weaknesses. From this point forward the film does a fantastic job of keeping a steady pace that will keep both parents and young children’s interest. As I am sure most parents know, you can always tell how good a children’s movie is based on how fast the young ones lose interest and start to become fidgety. Right from the start, my girlfriend’s three year-old son was attentively glued to his seat. Also I did not notice any of the other children in the theater talking or making noise which is usually a sign of a good children’s film.
Keeping with the fast paced action we are introduced to Guy voiced by Ryan Reynolds. Guy is traveling to high ground in an effort to escape the end of the world caused by earthquakes and lava. Unlike The Croods who are simple minded cavemen, Guy has a brain and is constantly introducing the family to new ideas like fire, shoes and umbrellas. His adventurous spirit is a foil to Grug’s living in constant fear of the unknown in order to stay alive. And while the family starts to fall for Guy’s spirit, they go on an adventure not only to find safety but to finally live.
The voice acting is solid across the board. Emma Stone really shines as the rebellious teenager and Nicolas Cage gives one of his better performances in years. Ryan Reynolds is accompanied with his sloth sidekick “Belt” who provides some of the most memorable comedic moments in the film. Together, along with the other supporting actors in this film, you have several inspired performances. It is these performances that appeal to the adults in the audience and make the film memorable and fun for all ages.
Movie Metropolis (309 KP) rated The Good Dinosaur (2015) in Movies
Jun 10, 2019
Is it as good as Inside Out?
2015 has been a great year for film. From long-awaited sequels to the conclusion of epic franchises, it’s been one of the best and most successful movie seasons in recent memory, and with Star Wars: the Force Awakens out in December, it can only finish on a high.
It also marks the first time that Pixar has released two films in the same year. Summer saw the release of instant-classic Inside Out and now animation fans get to enjoy another movie from the studio, The Good Dinosaur, but has Pixar bitten of more than it can chew?
The Good Dinosaur follows the story of a young Apatosaurus named Arlo, voiced beautifully by Raymond Ochoa, as he comes to terms with growing up in an ever-changing world where dinosaurs never met their well-documented fates.
He, alongside human child Spot suddenly find themselves embroiled in a dangerous journey after getting lost a long way from their homes.
If this all sounds a little formulaic to you, then that’s because it is. The Good Dinosaur has a plot more akin to Paramount animation, rather than the exceptional storytelling we have come to expect from Pixar. There’s nothing particularly special or unique about the plot and this is a real shame.
Thankfully, Pixar’s usual gut-punches are out in full force and The Good Dinosaur is among one of the emotional films in the studio’s roster. Personal tragedy is never an easy thing to convey in a movie meant to be enjoyed by the whole family, but here it is dealt with in a beautiful and tasteful manner.
Scenes in which Arlo and Spot share their circumstances with each other hit home hard and are deeply saddening to watch.
The cinematography too is absolutely exceptional. The breath-taking prehistoric landscapes are rendered in such stunning animation, they almost feel real. From raging white-water to beautiful sun-flooded forests, everything is a joy to behold and this is where The Good Dinosaur excels – a firefly swarm in particular is spectacular and propels the film into How to Train Your Dragon territory for sheer spectacle.
However, the entire film feels like a show reel, albeit a mesmerising one, for the talents at Pixar. Each shot of scenery is lingered on for a little too long and agoraphobic Arlo’s plight can sometimes take a backseat to this beauty.
Nevertheless, there are some wonderful characters here. A trio of T-Rex, who turn out to be cowboys – or should that be cowdinos, provide The Good Dinosaur with some of its more standout moments and it’s the lack of these sequences where the film is found wanting.
Overall, Pixar has created another excellent piece of animation with The Good Dinosaur. Though not quite at their ‘gold standard,’ the film is a wonder to behold and shows just how gorgeous animated features can be.
Unfortunately, the lack of an original story ensures it’ll prove second best to Inside Out in this year’s battle despite its deeper emotional resonance.
https://moviemetropolis.net/2015/11/29/is-it-as-good-as-inside-out-the-good-dinosaur-review/
It also marks the first time that Pixar has released two films in the same year. Summer saw the release of instant-classic Inside Out and now animation fans get to enjoy another movie from the studio, The Good Dinosaur, but has Pixar bitten of more than it can chew?
The Good Dinosaur follows the story of a young Apatosaurus named Arlo, voiced beautifully by Raymond Ochoa, as he comes to terms with growing up in an ever-changing world where dinosaurs never met their well-documented fates.
He, alongside human child Spot suddenly find themselves embroiled in a dangerous journey after getting lost a long way from their homes.
If this all sounds a little formulaic to you, then that’s because it is. The Good Dinosaur has a plot more akin to Paramount animation, rather than the exceptional storytelling we have come to expect from Pixar. There’s nothing particularly special or unique about the plot and this is a real shame.
Thankfully, Pixar’s usual gut-punches are out in full force and The Good Dinosaur is among one of the emotional films in the studio’s roster. Personal tragedy is never an easy thing to convey in a movie meant to be enjoyed by the whole family, but here it is dealt with in a beautiful and tasteful manner.
Scenes in which Arlo and Spot share their circumstances with each other hit home hard and are deeply saddening to watch.
The cinematography too is absolutely exceptional. The breath-taking prehistoric landscapes are rendered in such stunning animation, they almost feel real. From raging white-water to beautiful sun-flooded forests, everything is a joy to behold and this is where The Good Dinosaur excels – a firefly swarm in particular is spectacular and propels the film into How to Train Your Dragon territory for sheer spectacle.
However, the entire film feels like a show reel, albeit a mesmerising one, for the talents at Pixar. Each shot of scenery is lingered on for a little too long and agoraphobic Arlo’s plight can sometimes take a backseat to this beauty.
Nevertheless, there are some wonderful characters here. A trio of T-Rex, who turn out to be cowboys – or should that be cowdinos, provide The Good Dinosaur with some of its more standout moments and it’s the lack of these sequences where the film is found wanting.
Overall, Pixar has created another excellent piece of animation with The Good Dinosaur. Though not quite at their ‘gold standard,’ the film is a wonder to behold and shows just how gorgeous animated features can be.
Unfortunately, the lack of an original story ensures it’ll prove second best to Inside Out in this year’s battle despite its deeper emotional resonance.
https://moviemetropolis.net/2015/11/29/is-it-as-good-as-inside-out-the-good-dinosaur-review/
Steve Fearon (84 KP) rated Lake Placid (1999) in Movies
Sep 5, 2018
The Toothless Croc Adventure that bit off more than it could chew
If you are big horror fan, like I am, then you will no doubt have seen and loved Jaws at some point.
The spectacular fear of something huge and unseen in the water, a perfectly evolved marine predator capable of tremendous power and speed, with a jaw size capable of cutting you in half.
Jaws hit on a very primal fear, that there is an unreasoning, prehistoric simplicity to the shark, that reminds us that until the last few thousand years, we were just another form of food for many creatures on this planet, and that we could be again, in the right circumstances.
It is this fear that also informs our love of Zombie movies, our disgust at cannibals and keeps us watching endless episodes of dirty, tired-looking people arguing in 'The Walking Dead'.
Where Jaws created a whole genre of horror in 'Killer Shark' movies, their reptilian counterparts have had to make do with a somewhat less successful series of outings, with Alligator, Croc etc
They just haven't quite hit our imagination in the same way, whether that be because of their comical waddle on land, or having watched an excited Australian man jumping all over them on TV (RIP Steve Irwin)...
Regardless, Lake Placid is the one that most remember from recent history, and having listened to a 'Horrow Show' Podcast on the film recently, I mentioned to my better half I wouldn't mind seeing it again, to see if it is as bad as it sounded.
Well last night, said better half suggested we watch it and boy oh boy...
So first off, Brendan Gleeson was by far the best thing about this movie, his one liners and grumpy demeanor were, for long periods, the best thing about this movie, shortly followed by the hilarious Betty White.
Stan Winstone, legendary physical creature effects maestro turns in some great stuff, and when they are dealing withe the physical creature, it is very effective but all too often they resort to CGI, which is passable but still tends to take you out of the moment..
Oliver Platt's casting as a crocodile expert playboy is amusing at first, then confusing and eventually just...well not laughable exactly as it isnt very funny, but strange certainly.
The movie languishes for long periods, focusing on the incredibly inert chemistry between leading lady Fonda, and wooden cardboard cut out Pullman, giving you poorly written rom com scripts where we signed up to see a giant Croc eat people.
Long story short, this movie is light on tension and action, heavy on clumsy exposition and strange casting choices, and it a poor relation to Jaws, which is more worthy of your time.
The spectacular fear of something huge and unseen in the water, a perfectly evolved marine predator capable of tremendous power and speed, with a jaw size capable of cutting you in half.
Jaws hit on a very primal fear, that there is an unreasoning, prehistoric simplicity to the shark, that reminds us that until the last few thousand years, we were just another form of food for many creatures on this planet, and that we could be again, in the right circumstances.
It is this fear that also informs our love of Zombie movies, our disgust at cannibals and keeps us watching endless episodes of dirty, tired-looking people arguing in 'The Walking Dead'.
Where Jaws created a whole genre of horror in 'Killer Shark' movies, their reptilian counterparts have had to make do with a somewhat less successful series of outings, with Alligator, Croc etc
They just haven't quite hit our imagination in the same way, whether that be because of their comical waddle on land, or having watched an excited Australian man jumping all over them on TV (RIP Steve Irwin)...
Regardless, Lake Placid is the one that most remember from recent history, and having listened to a 'Horrow Show' Podcast on the film recently, I mentioned to my better half I wouldn't mind seeing it again, to see if it is as bad as it sounded.
Well last night, said better half suggested we watch it and boy oh boy...
So first off, Brendan Gleeson was by far the best thing about this movie, his one liners and grumpy demeanor were, for long periods, the best thing about this movie, shortly followed by the hilarious Betty White.
Stan Winstone, legendary physical creature effects maestro turns in some great stuff, and when they are dealing withe the physical creature, it is very effective but all too often they resort to CGI, which is passable but still tends to take you out of the moment..
Oliver Platt's casting as a crocodile expert playboy is amusing at first, then confusing and eventually just...well not laughable exactly as it isnt very funny, but strange certainly.
The movie languishes for long periods, focusing on the incredibly inert chemistry between leading lady Fonda, and wooden cardboard cut out Pullman, giving you poorly written rom com scripts where we signed up to see a giant Croc eat people.
Long story short, this movie is light on tension and action, heavy on clumsy exposition and strange casting choices, and it a poor relation to Jaws, which is more worthy of your time.