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Gareth von Kallenbach (971 KP) rated Rise of the Triad in Video Games
Jun 19, 2019
Back in 1993 The Internet was mainly confined to college campuses and would not start to arrive in homes for another year. Those who went online used dial up modems to access local bulletin boards to share pictures, play social games, and use chat programs in the early precursors to social networks.
With the success of the Doom games, First Person Shooters were all the rage and numerous companies cranked out games in this genre trying to appeal to a consumer base eager for games of this type and who wanted to experience to get in on the fairly new concepts of online play with their friends.
One such game was Rise of the Triad. Originally planned as a Wolfenstein sequel by Apogee Software the game cast players as a member of a United Nations special forces team who is dispatched to an island to take down a dangerous cult that has arisen.
Gameplay was frantic and fast as players had to mow down as many bad guys as they could with all manner of weapons and gear. The game was innovative in that there were all sorts of traps and objects that players could bounce from and they could even become a dog during power ups as they took the fight to the bad guys in both offline and online modes.
Jump forward to 2013, Rise of the Triad is back with a slick makeover that while looking more contemporary is still very much a retro game loaded with throwback elements.
The plot is essentially the same and aside from the improved graphics and physics, the game looks and plays very much like the original. The graphics are not eye popping examples of modern technology, rather they are improved and take advantage of graphic cards which were not widely in use back in 1993.
My first reaction was how much it played like a game of old. Aside from being faster and smoother than games of that era, the combat mechanics and techniques were very much as they were back in games of the day.
I enjoyed the nostalgia as I took down enemies and used the bounce pads to ascend to upper levels of buildings and collect power up coins that were littered throughout the map. I also enjoyed the over the top gore and humor of the game such as being rewarded with a pair of eyeballs splattered on the screen after I dispatched an enemy with a rocket launcher.
My biggest frustration was with the check point save system as having to replay elements of a game over and over when you die is not my favorite thing. Many times I would make solid progress only to be killed and forced to replay the previous segments over and over.
Enemies still come at you fairly directly when they attack but they can be very effective and deadly so players will need to be on their toes art all times.
The amount of firepower you can deploy is great from dual pistols to machines guns and rocket launchers, carnage is the way of the game.
I also had some issues getting matched online during my earlier attempts but as time went on, this became easier and I was able to enjoy the online nostalgia.
Rise of the Triad is great for those who remember the original and that era of gaming but for those who are accustomed to the mechanics and polish of modern shooters, they may find elements of the game frustrating and best left in the past.
For the rest of us, it was a welcome trip to the past that helped illustrate just how far games have evolved in the last twenty years.
http://sknr.net/2013/09/22/rise-of-the-triad/
With the success of the Doom games, First Person Shooters were all the rage and numerous companies cranked out games in this genre trying to appeal to a consumer base eager for games of this type and who wanted to experience to get in on the fairly new concepts of online play with their friends.
One such game was Rise of the Triad. Originally planned as a Wolfenstein sequel by Apogee Software the game cast players as a member of a United Nations special forces team who is dispatched to an island to take down a dangerous cult that has arisen.
Gameplay was frantic and fast as players had to mow down as many bad guys as they could with all manner of weapons and gear. The game was innovative in that there were all sorts of traps and objects that players could bounce from and they could even become a dog during power ups as they took the fight to the bad guys in both offline and online modes.
Jump forward to 2013, Rise of the Triad is back with a slick makeover that while looking more contemporary is still very much a retro game loaded with throwback elements.
The plot is essentially the same and aside from the improved graphics and physics, the game looks and plays very much like the original. The graphics are not eye popping examples of modern technology, rather they are improved and take advantage of graphic cards which were not widely in use back in 1993.
My first reaction was how much it played like a game of old. Aside from being faster and smoother than games of that era, the combat mechanics and techniques were very much as they were back in games of the day.
I enjoyed the nostalgia as I took down enemies and used the bounce pads to ascend to upper levels of buildings and collect power up coins that were littered throughout the map. I also enjoyed the over the top gore and humor of the game such as being rewarded with a pair of eyeballs splattered on the screen after I dispatched an enemy with a rocket launcher.
My biggest frustration was with the check point save system as having to replay elements of a game over and over when you die is not my favorite thing. Many times I would make solid progress only to be killed and forced to replay the previous segments over and over.
Enemies still come at you fairly directly when they attack but they can be very effective and deadly so players will need to be on their toes art all times.
The amount of firepower you can deploy is great from dual pistols to machines guns and rocket launchers, carnage is the way of the game.
I also had some issues getting matched online during my earlier attempts but as time went on, this became easier and I was able to enjoy the online nostalgia.
Rise of the Triad is great for those who remember the original and that era of gaming but for those who are accustomed to the mechanics and polish of modern shooters, they may find elements of the game frustrating and best left in the past.
For the rest of us, it was a welcome trip to the past that helped illustrate just how far games have evolved in the last twenty years.
http://sknr.net/2013/09/22/rise-of-the-triad/
Gareth von Kallenbach (971 KP) rated 28 Weeks Later... (2007) in Movies
Aug 14, 2019
After being ravaged by the deadly “Rage” virus in “28 Days Later”, the nation of England is taking it’s first steps towards recovery under a U.S. lead United Nations force.
In 28 Weeks Later, society is slowing starting anew as thanks to a repopulated military zone on the Isle of Dogs. When a plane of natives arrives with two children, a sense of hope accompanies them, as the return of children is seen as a sign that the crisis is over and a better future is at hand.
The children are soon reunited with their father (Robert Carlyle), who is struggling to cope with the death of his wife, lost to the infected hordes months earlier. The fact that he panicked and left his wife to her fate is a secret that he has lived with, still he feels compelled to tell his children that their mother died despite his best efforts to help her.
As children are prone to do, the two children become bored with living in a compound and sneak past the blockade into the outer areas of London, areas that have not been fully reclaimed since the attack, declared off limits due to safety concerns.
Undaunted, the duo return to their former home to collect some of their personal items and there they make a startling discovery. Their mother is alive, and has been holding up inside their house since being left for dead by their father.
Once returned to the compound, it’s discovered the mother is a carrier of the virus, but does not manifest the disease nor it’s symptoms. Fascinated that they may have found a way to create a vaccine for the virus, the leader of the military medical community passes along her findings to her commanding officer. Unswayed by the possibility of creating a vaccine should future outbreaks occur, the commanding officer decides to follow standing orders and eradicate all signs of the virus which means killing the children’s’ mother.
Before the military can take action, a chance encounter causes the virus to spread and before long, the military is taking up arms in an effort to control the disease that is spreading like wildfire amongst the survivors. In short order, it becomes impossible to control the
infected, and the decision is made to kill anything that moves, infected or not in an effort to contain the outbreak.
During the chaos, the children are taken under protective care of a lone soldier and the doctor who is convinced that the children may hold the key to defeating the virus in their blood and must be protected at all costs. What follows is a chaotic race to get the children to safety while avoiding the infected and the soldiers in a deadly race against time for their very survival.
Following up the classic first film is a difficult task, and while not as good as the original, the sequel for the most part works. The characters and plot are paper thin, even by horror film standards, and there is little effort made to give the characters any back story or motivation beyond survival. The film is essentially one long segment of characters fleeing, yet there are some amazing visuals and chilling moments that will delight fans of the series and genre.
The images of London in desolation and of gas and fire flowing through the streets are haunting, and provide a none to subtle reference to the situation in Iraq, of a nation out of control.
Director has done a solid job of crafting a modern horror tale of a world gone mad, that raises ethical questions that will stay with viewers after the films conclusion.
In 28 Weeks Later, society is slowing starting anew as thanks to a repopulated military zone on the Isle of Dogs. When a plane of natives arrives with two children, a sense of hope accompanies them, as the return of children is seen as a sign that the crisis is over and a better future is at hand.
The children are soon reunited with their father (Robert Carlyle), who is struggling to cope with the death of his wife, lost to the infected hordes months earlier. The fact that he panicked and left his wife to her fate is a secret that he has lived with, still he feels compelled to tell his children that their mother died despite his best efforts to help her.
As children are prone to do, the two children become bored with living in a compound and sneak past the blockade into the outer areas of London, areas that have not been fully reclaimed since the attack, declared off limits due to safety concerns.
Undaunted, the duo return to their former home to collect some of their personal items and there they make a startling discovery. Their mother is alive, and has been holding up inside their house since being left for dead by their father.
Once returned to the compound, it’s discovered the mother is a carrier of the virus, but does not manifest the disease nor it’s symptoms. Fascinated that they may have found a way to create a vaccine for the virus, the leader of the military medical community passes along her findings to her commanding officer. Unswayed by the possibility of creating a vaccine should future outbreaks occur, the commanding officer decides to follow standing orders and eradicate all signs of the virus which means killing the children’s’ mother.
Before the military can take action, a chance encounter causes the virus to spread and before long, the military is taking up arms in an effort to control the disease that is spreading like wildfire amongst the survivors. In short order, it becomes impossible to control the
infected, and the decision is made to kill anything that moves, infected or not in an effort to contain the outbreak.
During the chaos, the children are taken under protective care of a lone soldier and the doctor who is convinced that the children may hold the key to defeating the virus in their blood and must be protected at all costs. What follows is a chaotic race to get the children to safety while avoiding the infected and the soldiers in a deadly race against time for their very survival.
Following up the classic first film is a difficult task, and while not as good as the original, the sequel for the most part works. The characters and plot are paper thin, even by horror film standards, and there is little effort made to give the characters any back story or motivation beyond survival. The film is essentially one long segment of characters fleeing, yet there are some amazing visuals and chilling moments that will delight fans of the series and genre.
The images of London in desolation and of gas and fire flowing through the streets are haunting, and provide a none to subtle reference to the situation in Iraq, of a nation out of control.
Director has done a solid job of crafting a modern horror tale of a world gone mad, that raises ethical questions that will stay with viewers after the films conclusion.
Gareth von Kallenbach (971 KP) rated The Wolfman (2010) in Movies
Aug 8, 2019
During the golden age of cinematic horror, Lon Chaney terrified audiences with his portrayal of the Wolfman which launched the character as a cultural mainstay.
Over the years there have been countless updates to the tale which ranged from Michael Landon in “I Was a Teenage Werewolf, to the more contemporary “An American Werewolf in London” and “Dog Soldiers”.
With remakes being all the rage in Hollywood, Universal has returned to the original source material to offer an updated version of the original classic.
Set in England near the start of the twentieth century, the film stars Benicio Del Toro as an actor named Lawrence who is summoned home when his brother goes missing. Upon returning to the lavish familial estate, he is greeted by his estranged father, (Sir Anthony Hopkins), who informs him that his brother mutilated body was discovered earlier.
Dismayed by the condition of his brother’s remains, Lawrence decides to stay and get to the bottom of the mystery. When a clue provided by his brother’s fiancé leads him to a Gypsy encampment, Lawrence learns of a curse, but before he can obtain the information he desires, the camp is attacked by a mysterious creature that leaves a horrific path of carnage in its wake and leaves Lawrence badly wounded from a bite.
Lawrence makes an amazing recovery from his wounds and in doing so raises the suspicions of the locals who now see Lawrence as cursed and a threat to their society.
Lawrence has also raised the suspicions of Scotland Yard Inspector, (Hugo Weaving) who is convinced that Lawrence may be a key player in the local horror, as he was confined to an asylum in his childhood following the death of his mother.
At first Lawrence is outraged at the accusations, but when he transforms into a deadly creature and embarks on a deadly killing spree during a full moon, he soon learns a dangerous secret that places not only his life in danger, but endangers all those around him.
In a desperate race against time, Lawrence attempts to get to the root of his troubles and set things right before the next full moon, when his animal side will take over once again.
The film is a stylish update of the original and the cast is strong. Sadly they are given little to do with the by the numbers plot, and spend much of the time looking like they are simply going through the motions which makes it difficult for the audience to develop a deep sympathy or attachment to the characters.
Oscar winner Rick Baker has done some amazing makeup work and the effects of the film are solid. It was reported that the film was delayed so Universal could punch the film up by adding some new fx and sequences.
The final result is a mixed bag as while the film is a nice update on the original, audiences have seen more so many variations of the story over the years it is hard to be surprised by anything in the picture. Despite the best efforts of the creative talent, there is little tension or drama in the film and by the time the finale plays out, many may think they have seen it all before.
Universal has released the 1941 original Lon Cheney version of the film on DVD and for those who like film history; they may gain a new insight into the film by watching the original version prior.
In the end, “The Wolfman” works as a matinee or a DVD rental, but I would not suggest it as a full priced theatrical experience for anyone other than those looking for a piece of nostalgia.
Over the years there have been countless updates to the tale which ranged from Michael Landon in “I Was a Teenage Werewolf, to the more contemporary “An American Werewolf in London” and “Dog Soldiers”.
With remakes being all the rage in Hollywood, Universal has returned to the original source material to offer an updated version of the original classic.
Set in England near the start of the twentieth century, the film stars Benicio Del Toro as an actor named Lawrence who is summoned home when his brother goes missing. Upon returning to the lavish familial estate, he is greeted by his estranged father, (Sir Anthony Hopkins), who informs him that his brother mutilated body was discovered earlier.
Dismayed by the condition of his brother’s remains, Lawrence decides to stay and get to the bottom of the mystery. When a clue provided by his brother’s fiancé leads him to a Gypsy encampment, Lawrence learns of a curse, but before he can obtain the information he desires, the camp is attacked by a mysterious creature that leaves a horrific path of carnage in its wake and leaves Lawrence badly wounded from a bite.
Lawrence makes an amazing recovery from his wounds and in doing so raises the suspicions of the locals who now see Lawrence as cursed and a threat to their society.
Lawrence has also raised the suspicions of Scotland Yard Inspector, (Hugo Weaving) who is convinced that Lawrence may be a key player in the local horror, as he was confined to an asylum in his childhood following the death of his mother.
At first Lawrence is outraged at the accusations, but when he transforms into a deadly creature and embarks on a deadly killing spree during a full moon, he soon learns a dangerous secret that places not only his life in danger, but endangers all those around him.
In a desperate race against time, Lawrence attempts to get to the root of his troubles and set things right before the next full moon, when his animal side will take over once again.
The film is a stylish update of the original and the cast is strong. Sadly they are given little to do with the by the numbers plot, and spend much of the time looking like they are simply going through the motions which makes it difficult for the audience to develop a deep sympathy or attachment to the characters.
Oscar winner Rick Baker has done some amazing makeup work and the effects of the film are solid. It was reported that the film was delayed so Universal could punch the film up by adding some new fx and sequences.
The final result is a mixed bag as while the film is a nice update on the original, audiences have seen more so many variations of the story over the years it is hard to be surprised by anything in the picture. Despite the best efforts of the creative talent, there is little tension or drama in the film and by the time the finale plays out, many may think they have seen it all before.
Universal has released the 1941 original Lon Cheney version of the film on DVD and for those who like film history; they may gain a new insight into the film by watching the original version prior.
In the end, “The Wolfman” works as a matinee or a DVD rental, but I would not suggest it as a full priced theatrical experience for anyone other than those looking for a piece of nostalgia.
Sophia (Bookwyrming Thoughts) (530 KP) rated Awake in Books
Jan 23, 2020
<b><i>I received this book for free from Publisher in exchange for an honest review. This does not affect my opinion of the book or the content of my review.</i></b>
Well, <i>Awake</i> is <b>completely different from <i>The Cellar</i>.</b>
(Once upon a time, I was bored at Walmart and <i>The Cellar</i> seemed interesting compared to all the "millions" of <i>Fifty Shades of Grey</i> and <i>Divergent</i> and the like. Oh, and there has to be something about Natasha Preston if a publisher swooped up her book from Wattpad, right?)
It's no brainer that Natasha Preston writes about the <b>dark parts of human nature that make you shiver and shudder in fear</b> – it's shown in the third I read in <i>The Cellar</i> (I did buy a copy on Amazon later) and the sick beliefs of Eternal Light in her newest novel. From reading <i>Awake</i>,<b> there's obviously something in Preston's writing that I liked, but <i>Awake</i> seems to be a bit of a downfall compared to <i>The Cellar</i>.</b>
In the process of trying to decide if <i>Awake</i> should get a good rating or not, I literally had to check my notes multiple times, reread a few passages to make sure I'm not making a whopping mistake by letting <i>Awake</i> fall in this ever-growing land called "The Grey Area" that books fall into more often than not.
But in the long run, <b><i>Awake</i>, unfortunately, falls in that ever-growing land that will probably be forgotten within the next year.</b> Let's get into whole detail shenanigans.
The romance. I have a <b>few choice words about Scarlett's relationship with Noah.
</b>
<ol>
<li>Noah makes his entrance in the book by staring unnervingly at Scarlett. <b>How in the world is Scarlett not disturbed?</b> She MAY be a little uncomfortable, but cheeks turning pinky pink is NOT exactly uncomfortable.</li>
<li><b>Noah's first day with Scarlett: yip, yip, yip – all about learning Scarlett. I'm a little perplexed as to how she's not a little creeped out</b> by the whole interrogation-like questions that I imagine Noah to be asking. Doesn't it raise a red flag?</li>
<li>How long were they together? I mean, it may seem a little longer than actuality, but in rereading some parts.... <b>they've probably been together for probably a month or two before they got close together. And I mean <i>really, really</i> close together.</b> I won't be surprised if it's just a few weeks.</li>
<li>Scarlett's kind of <b>obsessed with Noah from the get-go.</b> Over a hundred texts exchanged in the week they met, nonstop thinking about Noah, yada yada.</li>
</ol>
<blockquote>I slapped it, earning a glare from the guy I couldn't seem to get out of my head.</blockquote>
The romance doesn't overshadow the plot – I probably wouldn't have noticed how fast their relationship was going if I didn't make a really random note at a really random place that later raised a flag.
<i>Awake</i> is a little slow – <b>definitely slower than <i>The Cellar</i></b> – in the whole development. Preston <b>takes time to build up and uses Scarlett's and Noah's relationship as a filler,</b> among Scarlett questioning a four-year gap of memories missing and Noah beginning to question Eternal Light's values. <b>It's not a book that'll make me rage, but it's not a book I'll praise either.</b>
Hence, Gray Area Book.
<a href="https://bookwyrmingthoughts.com/arc-review-awake-by-natasha-preston/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Well, <i>Awake</i> is <b>completely different from <i>The Cellar</i>.</b>
(Once upon a time, I was bored at Walmart and <i>The Cellar</i> seemed interesting compared to all the "millions" of <i>Fifty Shades of Grey</i> and <i>Divergent</i> and the like. Oh, and there has to be something about Natasha Preston if a publisher swooped up her book from Wattpad, right?)
It's no brainer that Natasha Preston writes about the <b>dark parts of human nature that make you shiver and shudder in fear</b> – it's shown in the third I read in <i>The Cellar</i> (I did buy a copy on Amazon later) and the sick beliefs of Eternal Light in her newest novel. From reading <i>Awake</i>,<b> there's obviously something in Preston's writing that I liked, but <i>Awake</i> seems to be a bit of a downfall compared to <i>The Cellar</i>.</b>
In the process of trying to decide if <i>Awake</i> should get a good rating or not, I literally had to check my notes multiple times, reread a few passages to make sure I'm not making a whopping mistake by letting <i>Awake</i> fall in this ever-growing land called "The Grey Area" that books fall into more often than not.
But in the long run, <b><i>Awake</i>, unfortunately, falls in that ever-growing land that will probably be forgotten within the next year.</b> Let's get into whole detail shenanigans.
The romance. I have a <b>few choice words about Scarlett's relationship with Noah.
</b>
<ol>
<li>Noah makes his entrance in the book by staring unnervingly at Scarlett. <b>How in the world is Scarlett not disturbed?</b> She MAY be a little uncomfortable, but cheeks turning pinky pink is NOT exactly uncomfortable.</li>
<li><b>Noah's first day with Scarlett: yip, yip, yip – all about learning Scarlett. I'm a little perplexed as to how she's not a little creeped out</b> by the whole interrogation-like questions that I imagine Noah to be asking. Doesn't it raise a red flag?</li>
<li>How long were they together? I mean, it may seem a little longer than actuality, but in rereading some parts.... <b>they've probably been together for probably a month or two before they got close together. And I mean <i>really, really</i> close together.</b> I won't be surprised if it's just a few weeks.</li>
<li>Scarlett's kind of <b>obsessed with Noah from the get-go.</b> Over a hundred texts exchanged in the week they met, nonstop thinking about Noah, yada yada.</li>
</ol>
<blockquote>I slapped it, earning a glare from the guy I couldn't seem to get out of my head.</blockquote>
The romance doesn't overshadow the plot – I probably wouldn't have noticed how fast their relationship was going if I didn't make a really random note at a really random place that later raised a flag.
<i>Awake</i> is a little slow – <b>definitely slower than <i>The Cellar</i></b> – in the whole development. Preston <b>takes time to build up and uses Scarlett's and Noah's relationship as a filler,</b> among Scarlett questioning a four-year gap of memories missing and Noah beginning to question Eternal Light's values. <b>It's not a book that'll make me rage, but it's not a book I'll praise either.</b>
Hence, Gray Area Book.
<a href="https://bookwyrmingthoughts.com/arc-review-awake-by-natasha-preston/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
156Reviews (7 KP) rated Dark Waters (2019) in Movies
May 1, 2020
Films are important.
Films are important to us all for many different reasons, they show what we are, what we can be, what we aspire to be, of who we are. Sometimes that comes in the form of escapism, of dreaming that we can be better, Mark Ruffalo is no stranger to the genre I'm referring to, sometimes shows us our darkest fears and that we can overcome them, and sometimes, it shows us just how low, we as people can get, and never offer any kind of redemption. Dark Waters manages to be all of these things. A small intro before the film began had me franticly signing up to numerous petitions the second the film ended, joining a cause I didn't even know existed before I sat down to watch. This is why film is important, and why you should watch Dark Waters as soon as you can. So why the 3 out of 5 rating? Surely a film that EVERYONE should watch should get top marks, right? Unfortunately not.
The film begins with Rob Bilott (Mark Ruffalo), a corporate defence attorney, whose office is visited by a farmer from his home town, trying to raise a legal case against DuPont, a multi-billion dollar business, the towns biggest employer, and a chemical company at the heart of potentially poisoning the towns water supply. As Billot investigates the scale of the issue, and its inevitable cover up, it all becomes alarmingly clear. Thousands of people are being poisoned, they're health will likely deteriorate and life threatening illnesses are now a high probability. To take a line from the recent movie Bombshell “somebody has to stand up, somebody has to get mad.”
That anger that should be felt, but for all the terrifying facts about the poisoning these people received on a daily basis, it never comes, the rage should be palpable. Instead it opts for giving us all the information, teaching about regulation and government intervention, or lack thereof, and the only temper in the film shows comes as a heated exchange in a board room that blows over as soon as it comes, and protesters outside courtrooms for fleeting moments throughout the movie. It should be seething instead of showing, giving us the knowledge we need through gritted teeth, not clinical, scientific and impersonal.
Dark Waters is off the mark with its tone, Mark Ruffalo's high-priced lawyer is too uncertain, a little too every-man, never really portrayed a hot-shot or an underdog, and the supporting cast fall into “Good Guy” or “Bad Guy” far too easily with no exploration into any depth of character. One scene has a DuPont representative, shown in great detail, every undisputable, despicable thing that his company has done to these people, and listens attentively, never upset or defiant but instead seeming slightly bored, before getting up and leaving. Every scene feels like it should be emotionally hard-hitting but never raises above a tap on the shoulder.
As the lesson goes on, the complete lack of morals DuPont has, becomes shockingly clear as they drag the case on for as long as they can, making sure Billot's firm spend more money and time than they are willing to pay. Bilot's home life becomes strained, which distracts from the main thread more than adds to it plot, he becomes distant from his wife, a woefully underused Anne Hathaway, and his health deteriorates under the weight of fighting, and in the end, the conclusion is murkier than the water supply. But he still fights, and in real life, Rob Billot is still fighting to this day to help the West Virginia community, and to change the way the corporations are regulated worldwide.
This film is important, and everyone should see it because it's message, just don't see it for its entertainment value, because that's few and far between.
Films are important to us all for many different reasons, they show what we are, what we can be, what we aspire to be, of who we are. Sometimes that comes in the form of escapism, of dreaming that we can be better, Mark Ruffalo is no stranger to the genre I'm referring to, sometimes shows us our darkest fears and that we can overcome them, and sometimes, it shows us just how low, we as people can get, and never offer any kind of redemption. Dark Waters manages to be all of these things. A small intro before the film began had me franticly signing up to numerous petitions the second the film ended, joining a cause I didn't even know existed before I sat down to watch. This is why film is important, and why you should watch Dark Waters as soon as you can. So why the 3 out of 5 rating? Surely a film that EVERYONE should watch should get top marks, right? Unfortunately not.
The film begins with Rob Bilott (Mark Ruffalo), a corporate defence attorney, whose office is visited by a farmer from his home town, trying to raise a legal case against DuPont, a multi-billion dollar business, the towns biggest employer, and a chemical company at the heart of potentially poisoning the towns water supply. As Billot investigates the scale of the issue, and its inevitable cover up, it all becomes alarmingly clear. Thousands of people are being poisoned, they're health will likely deteriorate and life threatening illnesses are now a high probability. To take a line from the recent movie Bombshell “somebody has to stand up, somebody has to get mad.”
That anger that should be felt, but for all the terrifying facts about the poisoning these people received on a daily basis, it never comes, the rage should be palpable. Instead it opts for giving us all the information, teaching about regulation and government intervention, or lack thereof, and the only temper in the film shows comes as a heated exchange in a board room that blows over as soon as it comes, and protesters outside courtrooms for fleeting moments throughout the movie. It should be seething instead of showing, giving us the knowledge we need through gritted teeth, not clinical, scientific and impersonal.
Dark Waters is off the mark with its tone, Mark Ruffalo's high-priced lawyer is too uncertain, a little too every-man, never really portrayed a hot-shot or an underdog, and the supporting cast fall into “Good Guy” or “Bad Guy” far too easily with no exploration into any depth of character. One scene has a DuPont representative, shown in great detail, every undisputable, despicable thing that his company has done to these people, and listens attentively, never upset or defiant but instead seeming slightly bored, before getting up and leaving. Every scene feels like it should be emotionally hard-hitting but never raises above a tap on the shoulder.
As the lesson goes on, the complete lack of morals DuPont has, becomes shockingly clear as they drag the case on for as long as they can, making sure Billot's firm spend more money and time than they are willing to pay. Bilot's home life becomes strained, which distracts from the main thread more than adds to it plot, he becomes distant from his wife, a woefully underused Anne Hathaway, and his health deteriorates under the weight of fighting, and in the end, the conclusion is murkier than the water supply. But he still fights, and in real life, Rob Billot is still fighting to this day to help the West Virginia community, and to change the way the corporations are regulated worldwide.
This film is important, and everyone should see it because it's message, just don't see it for its entertainment value, because that's few and far between.
Bob Mann (459 KP) rated Nobody (2021) in Movies
Jun 9, 2021
Bob Odenkirk (1 more)
A fun, adrenaline-fuelled script
What Kevin McAllister did once all grown up
The "Nobody" in question is Hutch Mansell (Bob Odenkirk) who lives a humdrum suburban life: a 9-to-5 managerial job at his in-laws manufacturing plant; distant wife (Connie Nielsen); two kids, Blake (Gage Munroe) and Abby (Paisley Cadorath); an elderly father (Christopher Lloyd) in a local care home. Basically, the Mansell's are all living the American dream, but all subject to the monotonous grind of that daily life for week after week. That all changes in the middle of the night after Hutch confronts two bungling burglars and - in the full gaze of his son - 'wimps out' on taking action. All the silent rage and embarrassment has to go somewhere, and it does - on a late night bus ride; an event that sets off a sequence of increasingly bloody encounters!
Positives:
- Bob Odenkirk is charismatically dull! His character could be compared with that of Christian Wolff in 2016's "The Accountant". But in that movie, Ben Affleck was just dull dull! Here Odenkirk brings his character to life in a truly wonderful and sparkly way.
- The movie is a hyper-violent but adrenaline-fuelled joy ride. There's a slight lull after the initial burglary, but then it's a downhill bobsleigh ride with no brakes from there to the end. It comes as no surprise that the writer, Derek Kolstad, is the guy behind the John Wick franchise. The script has moments of black comedy that made me laugh out loud a good few times.
- The editing here (by Evan Schiff and William Yeh) is very slick indeed, most noticeably so in the many fight scenes. The one on the bus could be pulled apart as a template for a film school lesson.
Negatives:
- I've very little to add here. Yes, it's a rather shallow story, but I found it a hugely entertaining rush of a movie. However the intensity of the violence will not be for everyone. The lady a few seats along from me had her hands over her eyes for at least 75% of the movie I reckon.
- I wasn't clear where the character played by RZA fitted into the mix. Having (post film) seen the cast list, I'm even more confused!
Additional notes:
- There is a post credit scene in this one, shortly into the end credits, so don't dive for the doors too quickly if you want to see it. That being said, it doesn't really make much sense (why are they doing this?) and it isn't particularly funny either. So if you did miss it, then don't sweat about it!
- This is a movie that I knew virtually nothing about on going into it. Which is the best way to see it. As such, it's worth NOT watching the trailer, and going in on that basis if you can.
Summary Thoughts on "Nobody": It's a pretty shallow plot.... but it's also bloody good fun! I expected this to follow the well worn road of classic "revenge" movies - like "Death Wish" or "Taken" - but was pleasantly surprised that it didn't. A better comparison might be Michael Douglas's "Falling Down", but with the central character having more heart.
There are lots of nods to sequences from other movies in here: "Home Alone" (for obvious reasons!); "Patriot Games" and "The Equalizer" came to my mind. And the finale reminded me strongly of the anarchic chaos of 2016's "Free Fire".
Intellectual it ain't. But provided you can stomach the Tom and Jerry style violence, and suspend your belief at the punishment Hutch can take without hospital treatment, then "Nobody" ticks all the boxes for a fun night out at the flicks.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/06/09/nobody-what-kevin-mcallister-did-once-all-grown-up/. There's also a new Tiktok channel at onemannsmovies. Thanks).
Positives:
- Bob Odenkirk is charismatically dull! His character could be compared with that of Christian Wolff in 2016's "The Accountant". But in that movie, Ben Affleck was just dull dull! Here Odenkirk brings his character to life in a truly wonderful and sparkly way.
- The movie is a hyper-violent but adrenaline-fuelled joy ride. There's a slight lull after the initial burglary, but then it's a downhill bobsleigh ride with no brakes from there to the end. It comes as no surprise that the writer, Derek Kolstad, is the guy behind the John Wick franchise. The script has moments of black comedy that made me laugh out loud a good few times.
- The editing here (by Evan Schiff and William Yeh) is very slick indeed, most noticeably so in the many fight scenes. The one on the bus could be pulled apart as a template for a film school lesson.
Negatives:
- I've very little to add here. Yes, it's a rather shallow story, but I found it a hugely entertaining rush of a movie. However the intensity of the violence will not be for everyone. The lady a few seats along from me had her hands over her eyes for at least 75% of the movie I reckon.
- I wasn't clear where the character played by RZA fitted into the mix. Having (post film) seen the cast list, I'm even more confused!
Additional notes:
- There is a post credit scene in this one, shortly into the end credits, so don't dive for the doors too quickly if you want to see it. That being said, it doesn't really make much sense (why are they doing this?) and it isn't particularly funny either. So if you did miss it, then don't sweat about it!
- This is a movie that I knew virtually nothing about on going into it. Which is the best way to see it. As such, it's worth NOT watching the trailer, and going in on that basis if you can.
Summary Thoughts on "Nobody": It's a pretty shallow plot.... but it's also bloody good fun! I expected this to follow the well worn road of classic "revenge" movies - like "Death Wish" or "Taken" - but was pleasantly surprised that it didn't. A better comparison might be Michael Douglas's "Falling Down", but with the central character having more heart.
There are lots of nods to sequences from other movies in here: "Home Alone" (for obvious reasons!); "Patriot Games" and "The Equalizer" came to my mind. And the finale reminded me strongly of the anarchic chaos of 2016's "Free Fire".
Intellectual it ain't. But provided you can stomach the Tom and Jerry style violence, and suspend your belief at the punishment Hutch can take without hospital treatment, then "Nobody" ticks all the boxes for a fun night out at the flicks.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/06/09/nobody-what-kevin-mcallister-did-once-all-grown-up/. There's also a new Tiktok channel at onemannsmovies. Thanks).
The Greedy Cave
Games and Entertainment
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In a land far, far away there once was a vast continent called Milton. It was a land where the power...
Lee (2222 KP) rated Unhinged (2020) in Movies
Sep 2, 2020
The opening credits for Unhinged paint a pretty bleak and horrific snapshot of human life, just to get us in the mood for what’s to come. Footage of actual road rage incidents, supermarket disagreements and brawls, cars crashing into each other, all while recordings of news readers talk about how stressed and angry we all are these days. I think that in the current climate, we can all appreciate just how angry the world seems to have become these last few months, and some of these scenes really hit home.
We’d already seen just how angry Russell Crowe’s character is (billed as ‘The Man’, although he later introduces himself as Tom Cooper), courtesy of a shocking little pre-credits scene. Sitting in his car at night, rain beating down on the car as he breathes heavily and pops some pills into his mouth. Slowly turning a wedding ring on his finger, he removes it, tossing it behind him onto the backseat. Taking a hammer, he gets out of the car and walks to the front door of the house he’d parked outside, before smashing it down and proceeding to use the hammer on the occupants. He’s clearly not the kind of person you want to get on the wrong side of.
The person that does manage to get on his wrong side is Rachel (Caren Pistorius), who’s also having a pretty bad day of her own. Waking up late on the sofa, we learn that she’s currently going through a divorce, with her ex-husband wanting her house. She’s also late in taking her son to school, so when they hit heavy traffic along the way, it’s the last thing she needs.
At some traffic lights, the large SUV she’s sitting behind doesn’t budge when the lights turn green, so Rachel lets out a series of long beeps on the horn, before eventually pulling around the SUV to continue on her way. Unfortunately for her though, when they hit more traffic further down the road, the SUV pulls up alongside her, and when the window rolls down, we see that it’s ‘The Man’ behind the wheel. He’s calm at first, if a little on edge, but after apologising for his mistake, demands the same from Rachel before they go their separate ways. Unfortunately though, Rachel isn’t prepared to offer an apology. “I need you to learn what a bad day is and I need you to learn how to say sorry” he growls, before Rachel pulls away, believing that to be the end of it.
What follows is an intense game of cat and mouse, as ‘The Man’ relentlessly stalks Rachel through the roads and highways. Just to make things worse, ‘The Man’ manages to get hold of Rachel’s phone and starts to threaten and target her close friends and family. We’ve already seen just how Unhinged he can be, and there’s more of that as the movie progresses and he gets a chance to carry out some of those threats. He’s not just out to kill Rachel, but to give her the worst possible day he can before that moment arrives.
Crowe is suitably menacing – overweight and sweaty, taking out anyone who gets in his way and methodical in his determination to catch Rachel. The movie does try to humanise him a little at times though, as we discover that he’s been through a relationship breakdown, and was laid off work just a few weeks short of retiring, as if trying to provide some justification for his behaviour.
Unhinged comes in at just over 90 minutes and proved to be a real intense, gut wrenching roller-coaster ride. I don’t know if I was just a bit giddy at being back in the cinema for the first time since March, but I found it to be a lot of fun.
We’d already seen just how angry Russell Crowe’s character is (billed as ‘The Man’, although he later introduces himself as Tom Cooper), courtesy of a shocking little pre-credits scene. Sitting in his car at night, rain beating down on the car as he breathes heavily and pops some pills into his mouth. Slowly turning a wedding ring on his finger, he removes it, tossing it behind him onto the backseat. Taking a hammer, he gets out of the car and walks to the front door of the house he’d parked outside, before smashing it down and proceeding to use the hammer on the occupants. He’s clearly not the kind of person you want to get on the wrong side of.
The person that does manage to get on his wrong side is Rachel (Caren Pistorius), who’s also having a pretty bad day of her own. Waking up late on the sofa, we learn that she’s currently going through a divorce, with her ex-husband wanting her house. She’s also late in taking her son to school, so when they hit heavy traffic along the way, it’s the last thing she needs.
At some traffic lights, the large SUV she’s sitting behind doesn’t budge when the lights turn green, so Rachel lets out a series of long beeps on the horn, before eventually pulling around the SUV to continue on her way. Unfortunately for her though, when they hit more traffic further down the road, the SUV pulls up alongside her, and when the window rolls down, we see that it’s ‘The Man’ behind the wheel. He’s calm at first, if a little on edge, but after apologising for his mistake, demands the same from Rachel before they go their separate ways. Unfortunately though, Rachel isn’t prepared to offer an apology. “I need you to learn what a bad day is and I need you to learn how to say sorry” he growls, before Rachel pulls away, believing that to be the end of it.
What follows is an intense game of cat and mouse, as ‘The Man’ relentlessly stalks Rachel through the roads and highways. Just to make things worse, ‘The Man’ manages to get hold of Rachel’s phone and starts to threaten and target her close friends and family. We’ve already seen just how Unhinged he can be, and there’s more of that as the movie progresses and he gets a chance to carry out some of those threats. He’s not just out to kill Rachel, but to give her the worst possible day he can before that moment arrives.
Crowe is suitably menacing – overweight and sweaty, taking out anyone who gets in his way and methodical in his determination to catch Rachel. The movie does try to humanise him a little at times though, as we discover that he’s been through a relationship breakdown, and was laid off work just a few weeks short of retiring, as if trying to provide some justification for his behaviour.
Unhinged comes in at just over 90 minutes and proved to be a real intense, gut wrenching roller-coaster ride. I don’t know if I was just a bit giddy at being back in the cinema for the first time since March, but I found it to be a lot of fun.
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