Search
Search results
Bob Mann (459 KP) rated Censor (2021) in Movies
Sep 3, 2021
Niamh Algar is fabulous (1 more)
Novel story and great direction
A genuinely original story (at last!)
Positives:
- I often whinge on about there being no novelty in movies anymore, with everything being derivative of everything else. Well here's a case for the defence. There have been movies before about the mental effect of working in the horror movie business (Toby Jones in "Berberian Sound Studio" comes to mind). But none (as far as I'm aware) from the viewpoint of a film censor. This novelty gave the movie the scope to go in a number of different directions - including as a historical drama. But it focuses on a study of how loss and grief can suddenly emerge in dramatic ways even after many years. Director Prano Bailey-Bond co-wrote this and directs it with such verve that she is very much added to my "one to watch" list for writer-directors.
- Irish actress Niamh Algar is just brilliant here, reminiscent of Morfydd Clark's fantastic performance in "Saint Maud" (not the only parallel to be drawn in this review). The acting during the dramatic conclusion is utterly chilling.
- While the ending of the movie might be polarising, I loved it. No spoilers, but it's one of my favourite endings of any movie so far this year. It reminded me strongly of the ending of "Saint Maud".
- The editing is by Mark Towns (who also did "Saint Maud"). And it's bloody marvellous, particularly during that finale! While it doesn't shy away from showing some pretty horrible stuff, Towns shows much of this subliminally in the edit (shades of the "Psycho" shower scene). This probably helped with its certification (of which more later).
- The music by Emilie Levienaise-Farrouch is quirky and fitting for the movie. I loved the jaunty end-title music.
- Has one of the best impalings since Timothy Dalton fell on that model church spire in "Hot Fuzz"!
Negatives:
- While Algar is utterly fabulous, I was less convinced by the acting of some of her fellow censors in the office. Some of this felt a bit wooden to me.
Summary Thoughts on "Censor": The workings of the UK film censors have always fascinated me, and here's a novel insight into their work during a very difficult period in their history: the National Viewers and Listener's Association, headed by the fearsome Mary Whitehouse, was up in arms at the potential damage to people's (and particularly children's) mental wellbeing from the influx of "video nasties" arriving in homes on VHS tapes. The film needs to be applauded for coming up with such a novel storyline.
What I found surprising (and ironic) is that this got away with only a "15" certificate. Editor Mark Towns suggested to me, in a private communication on Twitter, that the BBFC rated it thus due to the "context" in which the violence was set. But I remember the first 'X' film I saw. It was Brian De Palma's "The Fury", which (from memory) was purely rated as such for the final scene in which John Cassavetes's character explodes in a gory fountain. Judging from "Censor"'s "15" certificate, things have become significantly more permissive in recent years!
(For the full graphical review check out onemannsmovies on the web, facebook and (for the video review) Tiktok. Thanks)
- I often whinge on about there being no novelty in movies anymore, with everything being derivative of everything else. Well here's a case for the defence. There have been movies before about the mental effect of working in the horror movie business (Toby Jones in "Berberian Sound Studio" comes to mind). But none (as far as I'm aware) from the viewpoint of a film censor. This novelty gave the movie the scope to go in a number of different directions - including as a historical drama. But it focuses on a study of how loss and grief can suddenly emerge in dramatic ways even after many years. Director Prano Bailey-Bond co-wrote this and directs it with such verve that she is very much added to my "one to watch" list for writer-directors.
- Irish actress Niamh Algar is just brilliant here, reminiscent of Morfydd Clark's fantastic performance in "Saint Maud" (not the only parallel to be drawn in this review). The acting during the dramatic conclusion is utterly chilling.
- While the ending of the movie might be polarising, I loved it. No spoilers, but it's one of my favourite endings of any movie so far this year. It reminded me strongly of the ending of "Saint Maud".
- The editing is by Mark Towns (who also did "Saint Maud"). And it's bloody marvellous, particularly during that finale! While it doesn't shy away from showing some pretty horrible stuff, Towns shows much of this subliminally in the edit (shades of the "Psycho" shower scene). This probably helped with its certification (of which more later).
- The music by Emilie Levienaise-Farrouch is quirky and fitting for the movie. I loved the jaunty end-title music.
- Has one of the best impalings since Timothy Dalton fell on that model church spire in "Hot Fuzz"!
Negatives:
- While Algar is utterly fabulous, I was less convinced by the acting of some of her fellow censors in the office. Some of this felt a bit wooden to me.
Summary Thoughts on "Censor": The workings of the UK film censors have always fascinated me, and here's a novel insight into their work during a very difficult period in their history: the National Viewers and Listener's Association, headed by the fearsome Mary Whitehouse, was up in arms at the potential damage to people's (and particularly children's) mental wellbeing from the influx of "video nasties" arriving in homes on VHS tapes. The film needs to be applauded for coming up with such a novel storyline.
What I found surprising (and ironic) is that this got away with only a "15" certificate. Editor Mark Towns suggested to me, in a private communication on Twitter, that the BBFC rated it thus due to the "context" in which the violence was set. But I remember the first 'X' film I saw. It was Brian De Palma's "The Fury", which (from memory) was purely rated as such for the final scene in which John Cassavetes's character explodes in a gory fountain. Judging from "Censor"'s "15" certificate, things have become significantly more permissive in recent years!
(For the full graphical review check out onemannsmovies on the web, facebook and (for the video review) Tiktok. Thanks)
Bob Mann (459 KP) rated King Arthur: Legend Of The Sword (2017) in Movies
Sep 29, 2021
The Arthurian legend: but with Cockneys.
So, bit difficult to describe this one… so I asked my bloke Alfie from Londinium to explain what’s it all about…
“‘Ere, OK bruv. So this is dun by that geezer Guy Ritchie – yer know, the one that dun that Sherlock Holmes with the Iron Man geezer Robert Junior Downey, that one. His new film is a rip-roarin’ acshun movie what retells da Arfurian legend in a novel new way.
That Hulk bloke Eric Bana is Arfur’s farfer an’ ‘e’s ‘avin’ a few problems wiv ‘is bruvver Vortigern (Jude Law, who’s a bi’ ov a cockney ‘imself, but ‘ere speaks like a posh bloke. Know what I mean?) So ‘e (Vortigern dat is) gets some magical ‘elp from some slippery watery bints in a puddle and so ‘is dad puts ‘is God Forbid in a boat an’ sends ‘im down da river ter The Smoke ter live wiv some prozzies.
But ‘e grows up big an’ strong an’ ‘andy wiv a sword. His friends tell ‘im ter get aaaht ov town as da King’s blokes are lookin’ fer da young geezer who would be king. An’ e says like “Scapa Flow sowf ov da river at dis time ov night. Are yew mad?”. So e gets caught like an’ gets tested by some famous football bloke ter pull a big sword aaaht ov just a random bi’ ov stone (nod, nod, wink wink, nice twist – ssshhh!).
The Vortigern bloke is very cross an’ tries to kill ‘im but ‘e gets rescued by some bird who can make birds, lol, an’ other fings do what she wants. So can Arfur beat ‘is uncle? Gawdon Bennet, I’m not gon’a tell yew da whole darn fing! Yer’ll ‘ave ter go an’ watch i’ ter find out.”
Thanks Alfie. Couldn’t have said it better myself!
The quirky style of Guy Ritchie isn’t one that you would think would translate well to the Arthurian setting, and as the film starts you tend to think you were right! But if you give it a chance it wears you down into acceptance and then – ultimately – a lot of enjoyment.
Jude Law is deliciously evil mixed with a heavy dose of mad, and delivers the goods.
Charlie Hunnam who plays Arthur (no, I hadn’t heard of him either but he was in the “Lost City of Z”) does a decent job as the medieval hunk, although he seems at time to have taken voice coaching in ‘Olde-English’ from Russell Crowe, since the lad’s Geordie accent seems to wander from Cockney through central southern England to Liverpudlian at one point (definitely channelling a young John Lennon)! Relative newcomer, the Spanish actress Astrid Bergès-Frisbey is effectively weird as the mage.
Particularly noteworthy (no pun intended) is the superb action soundtrack by Daniel Pemberton (“Steve Jobs“, “The Man from U.N.C.L.E.“) which propels the action really well and contains some standout moments.
Also a standout in the technical categories is the editing by James Herbert, who did both of Downey Junior’s “Sherlock Holmes” films (in a similar style) and also “Edge of Tomorrow“. The style is typified with Arthur’s growth to manhood in the streets of London which is stylishly done.
I saw the film in 3D – not a particularly favourite format – but quite well done, although falls into the “trying too hard” category at times with lots of drifting embers… you know the sort.
It’s not bloody Shakespeare. It’s not even the bloody Arthurian legend as you know it. But it is bloody good fun if you let it in.
“‘Ere, OK bruv. So this is dun by that geezer Guy Ritchie – yer know, the one that dun that Sherlock Holmes with the Iron Man geezer Robert Junior Downey, that one. His new film is a rip-roarin’ acshun movie what retells da Arfurian legend in a novel new way.
That Hulk bloke Eric Bana is Arfur’s farfer an’ ‘e’s ‘avin’ a few problems wiv ‘is bruvver Vortigern (Jude Law, who’s a bi’ ov a cockney ‘imself, but ‘ere speaks like a posh bloke. Know what I mean?) So ‘e (Vortigern dat is) gets some magical ‘elp from some slippery watery bints in a puddle and so ‘is dad puts ‘is God Forbid in a boat an’ sends ‘im down da river ter The Smoke ter live wiv some prozzies.
But ‘e grows up big an’ strong an’ ‘andy wiv a sword. His friends tell ‘im ter get aaaht ov town as da King’s blokes are lookin’ fer da young geezer who would be king. An’ e says like “Scapa Flow sowf ov da river at dis time ov night. Are yew mad?”. So e gets caught like an’ gets tested by some famous football bloke ter pull a big sword aaaht ov just a random bi’ ov stone (nod, nod, wink wink, nice twist – ssshhh!).
The Vortigern bloke is very cross an’ tries to kill ‘im but ‘e gets rescued by some bird who can make birds, lol, an’ other fings do what she wants. So can Arfur beat ‘is uncle? Gawdon Bennet, I’m not gon’a tell yew da whole darn fing! Yer’ll ‘ave ter go an’ watch i’ ter find out.”
Thanks Alfie. Couldn’t have said it better myself!
The quirky style of Guy Ritchie isn’t one that you would think would translate well to the Arthurian setting, and as the film starts you tend to think you were right! But if you give it a chance it wears you down into acceptance and then – ultimately – a lot of enjoyment.
Jude Law is deliciously evil mixed with a heavy dose of mad, and delivers the goods.
Charlie Hunnam who plays Arthur (no, I hadn’t heard of him either but he was in the “Lost City of Z”) does a decent job as the medieval hunk, although he seems at time to have taken voice coaching in ‘Olde-English’ from Russell Crowe, since the lad’s Geordie accent seems to wander from Cockney through central southern England to Liverpudlian at one point (definitely channelling a young John Lennon)! Relative newcomer, the Spanish actress Astrid Bergès-Frisbey is effectively weird as the mage.
Particularly noteworthy (no pun intended) is the superb action soundtrack by Daniel Pemberton (“Steve Jobs“, “The Man from U.N.C.L.E.“) which propels the action really well and contains some standout moments.
Also a standout in the technical categories is the editing by James Herbert, who did both of Downey Junior’s “Sherlock Holmes” films (in a similar style) and also “Edge of Tomorrow“. The style is typified with Arthur’s growth to manhood in the streets of London which is stylishly done.
I saw the film in 3D – not a particularly favourite format – but quite well done, although falls into the “trying too hard” category at times with lots of drifting embers… you know the sort.
It’s not bloody Shakespeare. It’s not even the bloody Arthurian legend as you know it. But it is bloody good fun if you let it in.
Gareth von Kallenbach (980 KP) rated Jurassic World: Dominion (2022) in Movies
Jun 8, 2022
After having the film halted and its release delayed by the Pandemic, “Jurassic World: Dominion” has finally arrived and closes out the new trilogy in a spectacle of action and visual splendor.
Picking up a few years after the events of “Jurassic World: Fallen Kingdom”, the dinosaurs have escaped into the wild and now mingle with and at times endanger society.
A multi-national company has been leading the way with a reserve to study the animals and their quirky leader Lewis Dodgson (Campbell Scott), promises the goal is to discover medicines that will benefit all of society.
At the same time, various concerns have arisen such as gigantic Locust swarms that threaten the food supply and activist Ellie Sattler (Laura Dern) is convinced that Dodgson and his company are behind it. Desperate to find answers, she seeks the help of Dr. Alan Grant (Sam Neill) and Dr. Ian Malcom (Jeff Goldblum) to get to the bottom of the mystery.
Owen Grady (Chris Pratt), and Claire Dearing (Bryce Dallas Howard), find their lives disrupted by the poaching of a unique dinosaur and a genetically unique young girl named Maisie (Isabella Sermon) and this puts them on a path to recover them both which takes them into the illegal world of dinosaur sales and on a collision course with Ellie and her team.
The old and new cast faces numerous dangers along the way before they unite for a rousing final act which effectively combines the original and new trilogy and cast very well.
Director Colin Trevorrow takes his time getting the story up to speed as the early part of the film is heavy on characters and set up before getting to the action but once it starts, there is an endless parade of dinosaurs old and new to endanger the cast and keep the tension moving.
While people may be able to find fault with elements of the plot, pacing, and dialogue, the cast is very effective and it is nice to see the cast from the original series being given a much larger role and how elements from the first film are addressed which have been a point of debate for fans.
The visuals are impressive and there is no end of snarling, biting, and deadly creatures mixed in with favorites old and new while people may want more depth or variation, the creatures are the focal point of the story and the film provides plenty of what fans have come to expect.
The formula of gathering the cast and endangering them with an array of dinosaurs does not change much aside from the locales and creatures involved but fans of the series know what they are getting and “Jurassic World: Dominion” gives fans what they expect and does it well.
DeWanda Wise and Mamoudou Athie are nice additions to the cast and Isabella Sermon appears to be a breakout star in the making. It will be interesting to see how long Universal waits before returning the franchise to cinemas as they have mentioned taking a break following this film, hopefully, it will not be as long as the break between “Jurassic Park 3”, and “Jurassic World” as it will be interesting to see what the next summer event film in the series will offer.
4 stars out of 5.
Picking up a few years after the events of “Jurassic World: Fallen Kingdom”, the dinosaurs have escaped into the wild and now mingle with and at times endanger society.
A multi-national company has been leading the way with a reserve to study the animals and their quirky leader Lewis Dodgson (Campbell Scott), promises the goal is to discover medicines that will benefit all of society.
At the same time, various concerns have arisen such as gigantic Locust swarms that threaten the food supply and activist Ellie Sattler (Laura Dern) is convinced that Dodgson and his company are behind it. Desperate to find answers, she seeks the help of Dr. Alan Grant (Sam Neill) and Dr. Ian Malcom (Jeff Goldblum) to get to the bottom of the mystery.
Owen Grady (Chris Pratt), and Claire Dearing (Bryce Dallas Howard), find their lives disrupted by the poaching of a unique dinosaur and a genetically unique young girl named Maisie (Isabella Sermon) and this puts them on a path to recover them both which takes them into the illegal world of dinosaur sales and on a collision course with Ellie and her team.
The old and new cast faces numerous dangers along the way before they unite for a rousing final act which effectively combines the original and new trilogy and cast very well.
Director Colin Trevorrow takes his time getting the story up to speed as the early part of the film is heavy on characters and set up before getting to the action but once it starts, there is an endless parade of dinosaurs old and new to endanger the cast and keep the tension moving.
While people may be able to find fault with elements of the plot, pacing, and dialogue, the cast is very effective and it is nice to see the cast from the original series being given a much larger role and how elements from the first film are addressed which have been a point of debate for fans.
The visuals are impressive and there is no end of snarling, biting, and deadly creatures mixed in with favorites old and new while people may want more depth or variation, the creatures are the focal point of the story and the film provides plenty of what fans have come to expect.
The formula of gathering the cast and endangering them with an array of dinosaurs does not change much aside from the locales and creatures involved but fans of the series know what they are getting and “Jurassic World: Dominion” gives fans what they expect and does it well.
DeWanda Wise and Mamoudou Athie are nice additions to the cast and Isabella Sermon appears to be a breakout star in the making. It will be interesting to see how long Universal waits before returning the franchise to cinemas as they have mentioned taking a break following this film, hopefully, it will not be as long as the break between “Jurassic Park 3”, and “Jurassic World” as it will be interesting to see what the next summer event film in the series will offer.
4 stars out of 5.
BankofMarquis (1832 KP) rated Oppenheimer (2023) in Movies
Jul 27, 2023
Gonna Win A Ton of Awards
Clear your shelves, Christopher Nolan and many of those involved in the making of his new movie OPPENHEIMER, you’re going to need the space for the many, many trophies you are going to receive next spring.
Based on the life of the “Father of the Atomic Bomb”, J. Robert Oppenheimer, Nolan’s latest epic is a rarity in today’s Motion Picture landscape - a prestige picture, bankrolled lavishly, filmed gorgeously and populated with a veritable who’s who of “A” list actors that tells a complex story of a complicated man who ends up remorseful of what he has unleashed in this world.
And it works very, very well.
Nolan regular, Cillian Murphy, is equal parts quirky, driven, determined and haunted in his multi-layered performance as the titular character - who is in almost every scene of this 3 hour film. He is fascinating to watch and his “more internal than external” performance draws the audience in throughout the events depicted in this film. It is the Best Performance of the career of one of the most interesting actors of this generation and one should not be surprised if his name is called during awards season next year.
Murphy is capably supported by a long list of strong performers giving strong performances in roles that are much smaller than ones they normally receive. Matt Damon, Florence Pugh, Josh Hartnett(!), Casey Affleck, Rami Malek, Matthew Modine, Kenneth Branagh (of course, it’s a Nolan film), Jason Clarke and Alden Ehrenreich bring their “A” game to roles that could have been thrown away.
Also, good ol’ Tom Conti (one of the most interesting actors from the late ‘70’s and early ‘80’s) shows up in this film as Albert Einstein and reminds us all why he is such a good performer…and…wait until you see who shows up for one scene in this film as President Harry S. Truman!
Oh…and don’t forget Emily Blunt (as Oppenheimer’s wife) and (surprisingly) Robert Downey, Jr. (as a politician using Oppenheimer for his own purposes). Both of them put in Award-winning-level uspporting performances, elevating two “A” list actors to the “A+ list”.
But this film is more than just it’s performers. Nolan demands - and receives - top notch work from the Cinematographer, the Sound Designer, the Editor, the Costume Designer and the Composer (Ludwig Goranssson, NOT Nolan regular Hans Zimmer). They (along with Nolan) craft a beautifully made and put together film that will dazzle the senses. If you get a chance, see this film in a movie theater and, if you can, see it in either iMAX or 70mm, you will be glad you did.
What holds this film back - just a little bit - is the story that is being told. Nolan (as he is want to do) plays with time and pretty frenetically cuts back and forth between about 4 different timelines to tell this story. It’s effective most of the time, but at other times, it becomes distracting and….with a 3 hour run time…does drag a bit at times.
But these are quibbles to a film that is “as good as it gets” by the BEST DIRECTOR plying his trade today. It is another triumph for Nolan and he will be making many, many acceptance speeches in just a few short months.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Based on the life of the “Father of the Atomic Bomb”, J. Robert Oppenheimer, Nolan’s latest epic is a rarity in today’s Motion Picture landscape - a prestige picture, bankrolled lavishly, filmed gorgeously and populated with a veritable who’s who of “A” list actors that tells a complex story of a complicated man who ends up remorseful of what he has unleashed in this world.
And it works very, very well.
Nolan regular, Cillian Murphy, is equal parts quirky, driven, determined and haunted in his multi-layered performance as the titular character - who is in almost every scene of this 3 hour film. He is fascinating to watch and his “more internal than external” performance draws the audience in throughout the events depicted in this film. It is the Best Performance of the career of one of the most interesting actors of this generation and one should not be surprised if his name is called during awards season next year.
Murphy is capably supported by a long list of strong performers giving strong performances in roles that are much smaller than ones they normally receive. Matt Damon, Florence Pugh, Josh Hartnett(!), Casey Affleck, Rami Malek, Matthew Modine, Kenneth Branagh (of course, it’s a Nolan film), Jason Clarke and Alden Ehrenreich bring their “A” game to roles that could have been thrown away.
Also, good ol’ Tom Conti (one of the most interesting actors from the late ‘70’s and early ‘80’s) shows up in this film as Albert Einstein and reminds us all why he is such a good performer…and…wait until you see who shows up for one scene in this film as President Harry S. Truman!
Oh…and don’t forget Emily Blunt (as Oppenheimer’s wife) and (surprisingly) Robert Downey, Jr. (as a politician using Oppenheimer for his own purposes). Both of them put in Award-winning-level uspporting performances, elevating two “A” list actors to the “A+ list”.
But this film is more than just it’s performers. Nolan demands - and receives - top notch work from the Cinematographer, the Sound Designer, the Editor, the Costume Designer and the Composer (Ludwig Goranssson, NOT Nolan regular Hans Zimmer). They (along with Nolan) craft a beautifully made and put together film that will dazzle the senses. If you get a chance, see this film in a movie theater and, if you can, see it in either iMAX or 70mm, you will be glad you did.
What holds this film back - just a little bit - is the story that is being told. Nolan (as he is want to do) plays with time and pretty frenetically cuts back and forth between about 4 different timelines to tell this story. It’s effective most of the time, but at other times, it becomes distracting and….with a 3 hour run time…does drag a bit at times.
But these are quibbles to a film that is “as good as it gets” by the BEST DIRECTOR plying his trade today. It is another triumph for Nolan and he will be making many, many acceptance speeches in just a few short months.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (980 KP) rated Spider-Man: Across the Spider-Verse (2023) in Movies
May 31, 2023
Life as a teenager is never easy and when you are gifted with the superhuman abilities of a spider and lead a double life as a student and crime fighter; life gets even harder.
Miles Morales (Shameik Moore) is finding it even harder to hide his secret from his family who has grown concerned that his erratic behavior is more than the usual teenage angst.
In another earth, Gwen Stacy (Hailee Steinfeld) deals with her Police officer father desperately hunting down her alter-ego believing that she is a killer which drives a wedge between them as Gwen desperately tries to find her way forward.
In “Spider-Man Across the Spider-Verse audiences learn that what one perceives as reality is often just the corner of a much larger picture and when Miles confronts what he dismisses as a “Villain of the Week” in a quirky enemy known as The Spot (Jason Schwartzman), starts a campaign against Spider-Man, he soon finds that the threat is much larger than he expected and secretly follows a visiting Gwen into an another Earth where his actions soon draw the attention of a larger temporal Spider squad.
Motivated by his feelings for Gwen and a desire to do good, Miles looks to undo the damage that the Spot is causing across various Earths and learns that each one has its own version of Spider-man or Woman to protect it.
At this point the film goes into overdrive as Miles learns more about his past and how he became Spider-Man but also learns more about the cost that his powers enact on his life and those around him. There are plenty of special moments and guest appearances that follow from the more obscure to the mainstream and the range of emotions from the audience at the press screening as they reacted to the film showed they were deeply engaged and loving it.
The film does take a darker turn and does end in a cliffhanger which sets up the next film very well but also may be a bit darker than younger viewers might want. That being said; I enjoyed this film far more than I did the prior film. I found the animation style a bit off-putting as the jerky way the characters moved was a bit much over the length of a feature film. This time around there is a mix of animation styles throughout and at times in the same frame which may be a bit hard for some as the film does come at the viewer with waves of flashing lights, sounds, and animations that very cleverly mimic reading a comic complete with small boxes to define various characters from time to time.
The film runs nearly two and a half hours and did seem to go on a bit long at times but thanks to the great voice-acting and strong cast as well as engaging storyline I found myself eagerly looking forward to the next film.
I first saw a rough cut of a scene at Cinemacon in 2022 and it was amazing seeing the final scene near the opening of the film as it was a rare instance of a film surpassing expectations and delivers the storyline and action with a good dose of solid characters that fans will love.
4.5 stars out of 5
Miles Morales (Shameik Moore) is finding it even harder to hide his secret from his family who has grown concerned that his erratic behavior is more than the usual teenage angst.
In another earth, Gwen Stacy (Hailee Steinfeld) deals with her Police officer father desperately hunting down her alter-ego believing that she is a killer which drives a wedge between them as Gwen desperately tries to find her way forward.
In “Spider-Man Across the Spider-Verse audiences learn that what one perceives as reality is often just the corner of a much larger picture and when Miles confronts what he dismisses as a “Villain of the Week” in a quirky enemy known as The Spot (Jason Schwartzman), starts a campaign against Spider-Man, he soon finds that the threat is much larger than he expected and secretly follows a visiting Gwen into an another Earth where his actions soon draw the attention of a larger temporal Spider squad.
Motivated by his feelings for Gwen and a desire to do good, Miles looks to undo the damage that the Spot is causing across various Earths and learns that each one has its own version of Spider-man or Woman to protect it.
At this point the film goes into overdrive as Miles learns more about his past and how he became Spider-Man but also learns more about the cost that his powers enact on his life and those around him. There are plenty of special moments and guest appearances that follow from the more obscure to the mainstream and the range of emotions from the audience at the press screening as they reacted to the film showed they were deeply engaged and loving it.
The film does take a darker turn and does end in a cliffhanger which sets up the next film very well but also may be a bit darker than younger viewers might want. That being said; I enjoyed this film far more than I did the prior film. I found the animation style a bit off-putting as the jerky way the characters moved was a bit much over the length of a feature film. This time around there is a mix of animation styles throughout and at times in the same frame which may be a bit hard for some as the film does come at the viewer with waves of flashing lights, sounds, and animations that very cleverly mimic reading a comic complete with small boxes to define various characters from time to time.
The film runs nearly two and a half hours and did seem to go on a bit long at times but thanks to the great voice-acting and strong cast as well as engaging storyline I found myself eagerly looking forward to the next film.
I first saw a rough cut of a scene at Cinemacon in 2022 and it was amazing seeing the final scene near the opening of the film as it was a rare instance of a film surpassing expectations and delivers the storyline and action with a good dose of solid characters that fans will love.
4.5 stars out of 5
Fun & engaging read
Allison and her family move to New York City from Dallas for her husband, Michael's, job. At first, Allison is excited--ready for the glitz and glamour of the city. Instead, she finds herself and her family (including her three children) living in a cramped small apartment within a high-rise building. She has no friends and no one to confide in and shortly after moving, she loses her job. Things go from bad to worse when she hits an empty parked car outside her son Jack's school--right in front of the judgemental eyes of all the other mothers. The note Allison leaves leads her to a fancy penthouse, which she finds occupied by young pop star, Carter Reid. Allison doesn't see Carter as a pop star, however: she sees an abandoned kid, friendless, without parents, and about to ruin his career by backing out of the Broadway musical in which he agreed to star. Somehow, Allison becomes involved in Carter's life and as she does, she finally finds a reason to embrace New York.
This was such a fun book and such an engaging read. Now, at first, Allison is adrift in New York and in the beginning of the book, I was so frustrated with the abuse she took from Carter that I was a bit annoyed with the story. But Poeppel gets you past that pretty quick. The entire book is humorous, as it's filled with funny moments with Allison, her family, and the cast of supporting characters. Howard, a security guard Allison helps tutor, particularly shines, as does Owen, Carter's butler. Poeppel is very adept at capturing the individual voice of each of her characters. I loved Allison's kids, too. I fell for her eldest daughter, Charlotte, because I could have been her 20 years ago (geez I'm old), but teenage Megan and funny, quirky Jack were awesome too. The characters truly become like family.
Even if Allison frustrated me at times, with her coddling of Carter, I certainly found her relatable. The fact that she wasn't a morning person, her love for her children yet inability to always know what was happening in their lives, and her closeness with her own mom. She comes across as a real person, and I was incredibly impressed at how well she handled Carter and the celebrity world. The theme of family runs across the book--not just Allison's family, but how the disparate characters in the novel become their own family, and you really find yourself rooting for Carter because of it.
And, indeed, the magic of the book is how it transforms Carter. In the beginning, I couldn't believe anyone would like this kid, but as you read on... well, let's just say you will be rooting for Carter Reid. Poeppel captures Carter so precisely--his mannerisms, his dialect, his voice--it's amazing. It's easy to picture him, and he grows on you, for sure. By the end of the novel, you may feel a little misty. Sure, it's sometimes easy to see where things may be going, but that's OK, because it is such a rather enjoyable ride to be on. Plus, you never know exactly what wrench Carter is going to throw in Allison's carefully laid plans.
Overall, I really enjoyed this one. It started off a little slow, and I was initially frustrated with Carter's behavior (and Allison's acceptance of it). However, the book then takes off, and I was quickly immersed in the well-written characters and the arc of the story. It's such a fun book in so many ways--and touching too--plus there's a celebrity aspect that gives it an enjoyable twist, and you often feel like you're in NYC on a Broadway set. Definitely an enjoyable read.
This was such a fun book and such an engaging read. Now, at first, Allison is adrift in New York and in the beginning of the book, I was so frustrated with the abuse she took from Carter that I was a bit annoyed with the story. But Poeppel gets you past that pretty quick. The entire book is humorous, as it's filled with funny moments with Allison, her family, and the cast of supporting characters. Howard, a security guard Allison helps tutor, particularly shines, as does Owen, Carter's butler. Poeppel is very adept at capturing the individual voice of each of her characters. I loved Allison's kids, too. I fell for her eldest daughter, Charlotte, because I could have been her 20 years ago (geez I'm old), but teenage Megan and funny, quirky Jack were awesome too. The characters truly become like family.
Even if Allison frustrated me at times, with her coddling of Carter, I certainly found her relatable. The fact that she wasn't a morning person, her love for her children yet inability to always know what was happening in their lives, and her closeness with her own mom. She comes across as a real person, and I was incredibly impressed at how well she handled Carter and the celebrity world. The theme of family runs across the book--not just Allison's family, but how the disparate characters in the novel become their own family, and you really find yourself rooting for Carter because of it.
And, indeed, the magic of the book is how it transforms Carter. In the beginning, I couldn't believe anyone would like this kid, but as you read on... well, let's just say you will be rooting for Carter Reid. Poeppel captures Carter so precisely--his mannerisms, his dialect, his voice--it's amazing. It's easy to picture him, and he grows on you, for sure. By the end of the novel, you may feel a little misty. Sure, it's sometimes easy to see where things may be going, but that's OK, because it is such a rather enjoyable ride to be on. Plus, you never know exactly what wrench Carter is going to throw in Allison's carefully laid plans.
Overall, I really enjoyed this one. It started off a little slow, and I was initially frustrated with Carter's behavior (and Allison's acceptance of it). However, the book then takes off, and I was quickly immersed in the well-written characters and the arc of the story. It's such a fun book in so many ways--and touching too--plus there's a celebrity aspect that gives it an enjoyable twist, and you often feel like you're in NYC on a Broadway set. Definitely an enjoyable read.
BankofMarquis (1832 KP) rated Hotel Artemis (2018) in Movies
Feb 10, 2019
Not as interesting as it wanted to be
On my airplane ride from Mpls to San Diego I was able to catch up with gritty, action-noir thriller BAD TIMES AT THE EL ROYALE and was really surprised by how much I enjoyed it. So, I was excited to see that another gritty,, action-noir film, HOTEL ARTEMIS was showing on the flight back.
Well...HOTEL ARTEMIS is no EL ROYALE and maybe that's not fair to Artemis, for I was constantly comparing the two films, so let me see if I can separate the 2 and hold HOTEL ARTEMIS up to it's own scrutiny.
Telling the tale of a JOHN WICK-type world where - instead of a safehouse Hotel for crooks, the HOTEL ARTEMIS is a safehouse HOSPITAL for crooks where the rules are that the crooks cannot hurt each other on the premises. When a riot breaks out in downtown Los Angeles, the rules go out the window and mayhem - and violence - ensue.
Well...this film is no JOHN WICK either. Oh shoot, I've done it again. I've compared this film to another film.
And that's the problem with HOTEL ARTEMIS, it treads ground that has been trod better - and with more style - before. So this film, no matter how well intention-ed, falls short in originality, style and substance. I was still entertained, but not as entertained as I was by JOHN WICK or EL ROYALE.
Jodie Foster (in her first acting role since 2013's ELYSIUM) stars as the person who runs the Artemis. She has a mysterious background (of course) and runs the Artemis with an emotional-less efficiency. Her performance is quirky and interesting and almost holds the film together - almost. She is joined by Sterling K. Brown, Charlie Day, Brian Tyree Henry and Sofia Boutella as patients in the Hotel - none of which were interesting or unusual. They all were playing variants of the characters they usually play, almost as if Director/Writer Drew Pearce said "Get my a Charlie Day-type and a Sterling K. Brown-type", and the Casting Director thought they "scored" by getting the original person - each of whom looks like they are coasting through this film at about 70% output.
Only Dave Bautista shines as the "Health Care Professional" who works with Foster. He brings an interesting charisma to his character and was almost the high point in the film.
Almost. All of the performances pale in comparison to the Mob Boss who shows up about 2/3 of the way through the film. This character is talked about in reverential and scary terms throughout the film. The build-up was huge for this character and I was prepared for the inevitable let down when the mob boss finally shows up, but when the elevator door opens up and I saw that is was Jeff Goldblum in "full Goldblum" mode, I was thrilled and he did not disappoint. He commanded the screen at a time that the film was getting tiresome and he wound up the characters, the energy of the film and the action to help it ride to its inevitable, bloody conclusion.
Ultimately, Pearce delivered a solid B- film, one that has moments of quirk and interest, but set against a backdrop - and supporting actors - that are subdued and not memorable. This is a cardinal sin for this kind of film, instead of subduing those parts, Pearce needed to enhance those and he just plainly did not.
If you want to see a good, stylized, gritty action film, with interesting locales and supporting players, check out JOHN WICK or BAD TIMES AT THE EL ROYALE. If you've seen these, HOTEL ARTEMIS is fine, but the other two do it better.
Letter Grade: B-
6 (out of 10) stars and you can take that to the Bank(ofMarquis)
Well...HOTEL ARTEMIS is no EL ROYALE and maybe that's not fair to Artemis, for I was constantly comparing the two films, so let me see if I can separate the 2 and hold HOTEL ARTEMIS up to it's own scrutiny.
Telling the tale of a JOHN WICK-type world where - instead of a safehouse Hotel for crooks, the HOTEL ARTEMIS is a safehouse HOSPITAL for crooks where the rules are that the crooks cannot hurt each other on the premises. When a riot breaks out in downtown Los Angeles, the rules go out the window and mayhem - and violence - ensue.
Well...this film is no JOHN WICK either. Oh shoot, I've done it again. I've compared this film to another film.
And that's the problem with HOTEL ARTEMIS, it treads ground that has been trod better - and with more style - before. So this film, no matter how well intention-ed, falls short in originality, style and substance. I was still entertained, but not as entertained as I was by JOHN WICK or EL ROYALE.
Jodie Foster (in her first acting role since 2013's ELYSIUM) stars as the person who runs the Artemis. She has a mysterious background (of course) and runs the Artemis with an emotional-less efficiency. Her performance is quirky and interesting and almost holds the film together - almost. She is joined by Sterling K. Brown, Charlie Day, Brian Tyree Henry and Sofia Boutella as patients in the Hotel - none of which were interesting or unusual. They all were playing variants of the characters they usually play, almost as if Director/Writer Drew Pearce said "Get my a Charlie Day-type and a Sterling K. Brown-type", and the Casting Director thought they "scored" by getting the original person - each of whom looks like they are coasting through this film at about 70% output.
Only Dave Bautista shines as the "Health Care Professional" who works with Foster. He brings an interesting charisma to his character and was almost the high point in the film.
Almost. All of the performances pale in comparison to the Mob Boss who shows up about 2/3 of the way through the film. This character is talked about in reverential and scary terms throughout the film. The build-up was huge for this character and I was prepared for the inevitable let down when the mob boss finally shows up, but when the elevator door opens up and I saw that is was Jeff Goldblum in "full Goldblum" mode, I was thrilled and he did not disappoint. He commanded the screen at a time that the film was getting tiresome and he wound up the characters, the energy of the film and the action to help it ride to its inevitable, bloody conclusion.
Ultimately, Pearce delivered a solid B- film, one that has moments of quirk and interest, but set against a backdrop - and supporting actors - that are subdued and not memorable. This is a cardinal sin for this kind of film, instead of subduing those parts, Pearce needed to enhance those and he just plainly did not.
If you want to see a good, stylized, gritty action film, with interesting locales and supporting players, check out JOHN WICK or BAD TIMES AT THE EL ROYALE. If you've seen these, HOTEL ARTEMIS is fine, but the other two do it better.
Letter Grade: B-
6 (out of 10) stars and you can take that to the Bank(ofMarquis)
Darren (1599 KP) rated 2001 Maniacs (2005) in Movies
Jun 20, 2019
Story: 2001 Maniacs starts as three history students Anderson (Gillespie), Nelson (Edrington) and Cory (Carey) failing through college before spring breaks gives them a chance to party some more. When the three friends meet fellow travellers including two hot girls Joey (Malcolm), Kat (Heekin) and Ricky (Gross) they arrange to meet back up on the beach and we continue our adventure with our three friends who find Pleasant Valley.
When the six find themselves being welcomed by the Mayor Buckman (Englund) for a celebration they decide to stay. As the strangers spend more time in the town they start to go missing before learning the truth about the people in the town. Who will make it out alive.
2001 Maniacs is one of those horrors that came out at the perfect time, it was the time when gore and nudity were big in the industry and this does everything needed. The story is pretty simple, strangers arrive in town and welcomed only to learn not everything is as it seems. Sure this is easy to watch but it is also important that nothing becomes over-complicated too.
Actor Review
Robert Englund: Mayor Buckman is the man running Pleasant Valley, he is from a time where the south was still in control meaning he only accepts white people in his town. It isn’t long till we learn his motives as the man who welcomes guests with arms wide open. Robert is always going to be a good lead for a film like this.mayr
Lin Shaye: Granny Boone is the host where the guests are staying. She is welcoming throughout the stay trying to make sure all the women look extra pretty. Lin is good in this role where we get to see the added quirky character.
Giuseppe Andrews: Harper is the charming man of the local town that seduces the women who come to town before finding his own way to kill them. Giuseppe is good in this role as you believe he will be calm and crazy in the same side.
Jay Gillespie: Anderson is the nice guy of the three friends travelling who meets the beautiful Joey where he sees a potential new girlfriend, when he learns what is going on he must try to survive. Jay is solid in this role but it could easily be any of the friends.
Support Cast: 2001 Maniacs has a supporting cast which is mostly the victims but also most of the women end up having to do some sort of nudity.
Director Review: Tim Sullivan – Tim gives us a film that reaches all the special effects levels and is filled with all the gore and nudity fitting the genre.
Comedy: 2001 Maniacs has a few good one liners when it comes to the kills.
Horror: 2001 Maniacs is gored filled for all of the kills but isn’t suspense filled.
Settings: 2001 Maniacs keeps most of the film in this small town showing how this is more of a tradition rather than mistake.
Special Effects: 2001 Maniacs has great effects when it comes to the kills which is important for the film.
Suggestion: 2001 Maniacs is one for the horror fans out there to sit down and watch. (Horror Fans Watch)
Best Part: The kills.
Worst Part: No suspense.
Kill Of The Film: Got Milk.
Believability: No
Chances of Tears: No
Chances of Sequel: Has one.
Post Credits Scene: No
Oscar Chances: No
Budget: $3 Million
Runtime: 1 Hour 27 Minutes
Tagline: The south will rise again!
Overall: Enjoyable horror that pushes the boundaries on kills.
https://moviesreview101.com/2016/10/08/movie-reviews-101-midnight-halloween-horror-2001-maniacs-2005/
When the six find themselves being welcomed by the Mayor Buckman (Englund) for a celebration they decide to stay. As the strangers spend more time in the town they start to go missing before learning the truth about the people in the town. Who will make it out alive.
2001 Maniacs is one of those horrors that came out at the perfect time, it was the time when gore and nudity were big in the industry and this does everything needed. The story is pretty simple, strangers arrive in town and welcomed only to learn not everything is as it seems. Sure this is easy to watch but it is also important that nothing becomes over-complicated too.
Actor Review
Robert Englund: Mayor Buckman is the man running Pleasant Valley, he is from a time where the south was still in control meaning he only accepts white people in his town. It isn’t long till we learn his motives as the man who welcomes guests with arms wide open. Robert is always going to be a good lead for a film like this.mayr
Lin Shaye: Granny Boone is the host where the guests are staying. She is welcoming throughout the stay trying to make sure all the women look extra pretty. Lin is good in this role where we get to see the added quirky character.
Giuseppe Andrews: Harper is the charming man of the local town that seduces the women who come to town before finding his own way to kill them. Giuseppe is good in this role as you believe he will be calm and crazy in the same side.
Jay Gillespie: Anderson is the nice guy of the three friends travelling who meets the beautiful Joey where he sees a potential new girlfriend, when he learns what is going on he must try to survive. Jay is solid in this role but it could easily be any of the friends.
Support Cast: 2001 Maniacs has a supporting cast which is mostly the victims but also most of the women end up having to do some sort of nudity.
Director Review: Tim Sullivan – Tim gives us a film that reaches all the special effects levels and is filled with all the gore and nudity fitting the genre.
Comedy: 2001 Maniacs has a few good one liners when it comes to the kills.
Horror: 2001 Maniacs is gored filled for all of the kills but isn’t suspense filled.
Settings: 2001 Maniacs keeps most of the film in this small town showing how this is more of a tradition rather than mistake.
Special Effects: 2001 Maniacs has great effects when it comes to the kills which is important for the film.
Suggestion: 2001 Maniacs is one for the horror fans out there to sit down and watch. (Horror Fans Watch)
Best Part: The kills.
Worst Part: No suspense.
Kill Of The Film: Got Milk.
Believability: No
Chances of Tears: No
Chances of Sequel: Has one.
Post Credits Scene: No
Oscar Chances: No
Budget: $3 Million
Runtime: 1 Hour 27 Minutes
Tagline: The south will rise again!
Overall: Enjoyable horror that pushes the boundaries on kills.
https://moviesreview101.com/2016/10/08/movie-reviews-101-midnight-halloween-horror-2001-maniacs-2005/
BookwormMama14 (18 KP) rated The Bachelor Girl's Guide to Murder (Herringford and Watts, #1) in Books
Jan 2, 2019
In a time when women never wore trousers and most definitely did not solve murders...Herringford & Watts break every rule in the book of propriety and pave their own future. The year is 1910. Toronto has seen it's share of progress and changes over the last few years. Yet, a woman's duty is still to marry, keep house and raise a family. Merinda Herringford and Jemima Watts are best friends, flatmates...and...detectives. These women do not fit the mold for a "Proper Lady". However, they are living out their dreams and following their passion. And to that I say, "Brava!" When the Herringford & Watts Detective Agency opens for business, mischief, madness and mayhem follow wherever these two go. When the mystery of the deaths of two Irish girls is brushed over by the police and press, Herringford & Watts step in to solve the case. The Morality Squad is on the prowl looking for an excuse to cart women away in the name of, "Cleaning up the town". Reasons may include, but are not limited to: a hemline too short, being out without an escort and sticking their nose in the wrong people's business. For this reason, Merinda and Jem masquerade as men with bowler hats on a fairly regular basis. This offers them the freedom of movement that would otherwise be denied them as women. Leading them to new depths and new heights. Joining forces with Constable Jasper Forth and Ray DeLuca, a reporter, will this team see that justice is served? Will their adventures take them too far? And will these bachelor girls be the voice for the women who have none?
I can honestly say that by page 10 of the novella (A Singular & Whimsical Problem), I was addicted to Herringford & Watts! From the cover design of the book to the quirky traits of these two women, I will treasure their story for many years to come. Let's talk about the book itself for a minute. There are several different aspects to the layout that intrigued me. First of all, the silhouettes on the cover (aren't they gorgeous), can be found at the beginning of each chapter as well, with artwork. Giving a deeper impression of the era. There are lovely quotes at the beginning of each chapter as well. Throughout the book you will find footnotes. Not referencing history books, but referencing our characters and addressing the reader personally. This dynamic didn't just draw me into the story, oh no, it gobbled me up and left me wandering the streets of Toronto, trying to walk without using my hips...Through these footnotes we learn a lot about all of our characters, without the need of an extra hundred pages, although I wouldn't have complained about that either.
The story is one of the most beautifully crafted books I have ever read. I am a HUGE fan of Sherlock and Murdoch Mysteries. And to have a story similar to those with women playing the lead...Brilliant! While we see the story through the perspective of different characters, it is mainly through Jem's eyes. Throughout their crime solving adventure, we can see the strength and determination of these women to do the right thing. Jem and Ray both look to the Lord for guidance and are comforted and encouraged by His voice and His peace. While God is a puzzle too big to solve for Merinda at this point. If you enjoy a good mystery with a lot of humour and some faith...THIS is the book for you! There are pins and needles that I am sitting on, waiting for the next book to come out!
I can honestly say that by page 10 of the novella (A Singular & Whimsical Problem), I was addicted to Herringford & Watts! From the cover design of the book to the quirky traits of these two women, I will treasure their story for many years to come. Let's talk about the book itself for a minute. There are several different aspects to the layout that intrigued me. First of all, the silhouettes on the cover (aren't they gorgeous), can be found at the beginning of each chapter as well, with artwork. Giving a deeper impression of the era. There are lovely quotes at the beginning of each chapter as well. Throughout the book you will find footnotes. Not referencing history books, but referencing our characters and addressing the reader personally. This dynamic didn't just draw me into the story, oh no, it gobbled me up and left me wandering the streets of Toronto, trying to walk without using my hips...Through these footnotes we learn a lot about all of our characters, without the need of an extra hundred pages, although I wouldn't have complained about that either.
The story is one of the most beautifully crafted books I have ever read. I am a HUGE fan of Sherlock and Murdoch Mysteries. And to have a story similar to those with women playing the lead...Brilliant! While we see the story through the perspective of different characters, it is mainly through Jem's eyes. Throughout their crime solving adventure, we can see the strength and determination of these women to do the right thing. Jem and Ray both look to the Lord for guidance and are comforted and encouraged by His voice and His peace. While God is a puzzle too big to solve for Merinda at this point. If you enjoy a good mystery with a lot of humour and some faith...THIS is the book for you! There are pins and needles that I am sitting on, waiting for the next book to come out!