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Ama (21 KP) rated Detroit (2017) in Movies
Sep 11, 2017
Shattering
The first couple of questions when writing a review here are What's good? and What's bad?
Now, as you've seen I have given this film a full score, but I could not for the life of me put into a sentence what was good about it. It's not a nice film. Nothing about it is good. Except the way it makes you feel with it. But then even that is not a good thing. It's ugly.
I watched Detroit yesterday at the local cinema. I had seen the trailer, knew it was gonna be a tearjerker, knew I would hate the world and myself after watching it.
What I realised is that I completely underestimated the film.
About half an hour to an hour in all I wanted to do was to turn it off. I had an urge to just turn the cinema off, go home and potentially have some chocolate.
It wasn't the fact that the film was bad (I repeat, I gave it a full score), nor was it surprising narrative (again, I had seen the trailer and my tiny bit of historical knowledge filled in the gaps), but something in the way it was presented somehow evoked that feeling of wanting it to go away.
When I walked out of the cinema and forced myself to think about it, I realised a couple of things (all of which eventually made me come to the conclusion that that might have been deliberate).
First of all that film was lit like a feature film and shot like a documentary. This means that watching it, my brain was trying to fool me into thinking this was real a lot more than it usually would. It's film like a documentary, so it's a documentary so this is exactly what must have happened, right? There was a camera at the scene, right?
Well, of course there wasn't. Of course it was still a feature film and of course before the credit it was even stated that besides the testimonies of the parties involved, there was still dramatic licence taken. But that didn't change the fact that it shook me. It shook me because that little shake of the camera that was a little more intense that I was used to and that little zoom every now and then to get closer to an action as though the camera had only just noticed it all lead to that convincing idea of this being real and having happened exactly as I was seeing it.
The acting was splendid. Again, upon contemplating the film, I wondered what it was like for all of these black people (the term used deliberately) to play these roles, having grown up in that country themselves. I wondered what it was like for Will Poulter to become an asshole from the work 'Action!' and while that isn't any different than any other set, somehow, in Detroit, it seemed like so much bigger a deal. On this note, kudos to all the actors in this piece. There was none of you that felt out of place or irrelevant. Each of you portrayed a character dealing with the situation at hand differently and on a spectrum that showed how truly diverse humans are - even if united in a cause, be it on the white side or the black.
I could go on for hours (which I did, with the friend I went to see it with) about how this film made me feel and how much insecurity in the current world it made me feel, but there is no point in doing that. Feelings are best felt, rather than read so just watch it and I'm sure you'll understand.
I do want to say this though:
This film made me realise that the world we live in today is not the product from its past, but rather a work in progress towards what is to come.
I in no way mean that I did not know that previously, but there is a difference between knowing and understanding.
On this note, this film is not for the faint hearted but it is one of those important films that need to be watched at the moment.
Now, as you've seen I have given this film a full score, but I could not for the life of me put into a sentence what was good about it. It's not a nice film. Nothing about it is good. Except the way it makes you feel with it. But then even that is not a good thing. It's ugly.
I watched Detroit yesterday at the local cinema. I had seen the trailer, knew it was gonna be a tearjerker, knew I would hate the world and myself after watching it.
What I realised is that I completely underestimated the film.
About half an hour to an hour in all I wanted to do was to turn it off. I had an urge to just turn the cinema off, go home and potentially have some chocolate.
It wasn't the fact that the film was bad (I repeat, I gave it a full score), nor was it surprising narrative (again, I had seen the trailer and my tiny bit of historical knowledge filled in the gaps), but something in the way it was presented somehow evoked that feeling of wanting it to go away.
When I walked out of the cinema and forced myself to think about it, I realised a couple of things (all of which eventually made me come to the conclusion that that might have been deliberate).
First of all that film was lit like a feature film and shot like a documentary. This means that watching it, my brain was trying to fool me into thinking this was real a lot more than it usually would. It's film like a documentary, so it's a documentary so this is exactly what must have happened, right? There was a camera at the scene, right?
Well, of course there wasn't. Of course it was still a feature film and of course before the credit it was even stated that besides the testimonies of the parties involved, there was still dramatic licence taken. But that didn't change the fact that it shook me. It shook me because that little shake of the camera that was a little more intense that I was used to and that little zoom every now and then to get closer to an action as though the camera had only just noticed it all lead to that convincing idea of this being real and having happened exactly as I was seeing it.
The acting was splendid. Again, upon contemplating the film, I wondered what it was like for all of these black people (the term used deliberately) to play these roles, having grown up in that country themselves. I wondered what it was like for Will Poulter to become an asshole from the work 'Action!' and while that isn't any different than any other set, somehow, in Detroit, it seemed like so much bigger a deal. On this note, kudos to all the actors in this piece. There was none of you that felt out of place or irrelevant. Each of you portrayed a character dealing with the situation at hand differently and on a spectrum that showed how truly diverse humans are - even if united in a cause, be it on the white side or the black.
I could go on for hours (which I did, with the friend I went to see it with) about how this film made me feel and how much insecurity in the current world it made me feel, but there is no point in doing that. Feelings are best felt, rather than read so just watch it and I'm sure you'll understand.
I do want to say this though:
This film made me realise that the world we live in today is not the product from its past, but rather a work in progress towards what is to come.
I in no way mean that I did not know that previously, but there is a difference between knowing and understanding.
On this note, this film is not for the faint hearted but it is one of those important films that need to be watched at the moment.
Movie Metropolis (309 KP) rated Jumanji: Welcome to the Jungle (2017) in Movies
Jun 10, 2019
I'm a celebrity... Get me out of here
It’s been 22 years since Joe Johnston thrilled cinemagoers with a little film called Jumanji. Starring the late, great Robin Williams, it has amassed a huge following over the years and has become nearly as loved as its leading star.
What’s surprising given the film’s success is the lack of a sequel. For over 20 years the non-franchise stayed completely dormant until now. Jumanji: Welcome to the Jungle sees Columbia Pictures resurrect this classic property for a high-action, CGI-filled blockbuster. But is it actually any good?
Four high school kids discover an old video game console and are drawn into the game’s jungle setting, literally becoming the adult avatars they chose. What they discover is that you don’t just play Jumanji – you must survive it. To beat the game and return to the real world, they’ll have to go on the most dangerous adventure of their lives, discover what Alan Parrish left 20 years ago, and change the way they think about themselves – or they’ll be stuck in the game forever.
Considering the overwhelmingly negative response to the film’s first trailer, it’s a pleasant surprise to see an enjoyable romp that has likeable characters and some nicely filmed set pieces. The problem is, it really doesn’t feel anything like Jumanji and regularly feels like the producers down at Sony had dollar signs in their eyes more than anything else.
There’s only one reference to its now classic predecessor, an homage to Robin William’s Alan Parrish but this is such a fleeting indication of any connection to the 1995 film, it’s barely noticeable. The film may as well lose the Jumanji tag from its name and be done with it: of course that wouldn’t sell half as many tickets now would it?
Of the school-age characters, none of them make any impact before being sucked into Jumanji, now a video game, and director Jake Kasdan (Bad Teacher) wisely focusses on their avatar characters instead. Dwayne Johnson is always reliable and plays the fish-out-of-water nerd surprisingly well. He also has great chemistry with Kevin Hart and the two share some of the film’s best sequences.
Jack Black is hilarious as his inner female tries to break through at numerous points throughout the movie and Karen Gillan shows particular warmth as the awkward Martha. Nick Jonas also stars in a role originally destined for Tom Holland and continues to prove what a versatile actor he has become.
It’s a pleasant surprise to see an enjoyable romp that has likeable characters and some nicely filmed set pieces.
Jake Kasdan films the action confidently and with visual panache but the CGI at times is left wanting, disappointing in this day and age. A helicopter ride across a rhino-infested canyon is particularly fun to watch and the way in which the writers write the film around video game lore is exciting and makes for a pleasant distraction from an otherwise mediocre script.
What the film does have in abundance however is laughs. Indeed, they are of the Dairylea variety, cheesy, but sometimes that’s exactly what you need. Jumanji: Welcome to the Jungle is a very funny film that knows how to squeeze every last drop of humour from its writing.
It’s also very well paced. Apart from a few lapses in judgement where the screenwriters desperately try to make us feel emotion towards the characters – we don’t – the film really doesn’t have a boring moment to its name and at 119 minutes, that’s a real achievement.
Overall, Jumanji: Welcome to the Jungle is a film that is fun to watch, if a little lacking in originality. All the lead actors perform their roles well, with Jack Black being a particular highlight. Unfortunately, while I’m not usually one for sickly nostalgia, the film really needed to provide a few more tasteful references to its predecessor, especially considering its link to the wonderful Robin Williams.
https://moviemetropolis.net/2017/12/10/jumanji-welcome-to-the-jungle-review-im-a-celebrity-get-me-out-of-here/
What’s surprising given the film’s success is the lack of a sequel. For over 20 years the non-franchise stayed completely dormant until now. Jumanji: Welcome to the Jungle sees Columbia Pictures resurrect this classic property for a high-action, CGI-filled blockbuster. But is it actually any good?
Four high school kids discover an old video game console and are drawn into the game’s jungle setting, literally becoming the adult avatars they chose. What they discover is that you don’t just play Jumanji – you must survive it. To beat the game and return to the real world, they’ll have to go on the most dangerous adventure of their lives, discover what Alan Parrish left 20 years ago, and change the way they think about themselves – or they’ll be stuck in the game forever.
Considering the overwhelmingly negative response to the film’s first trailer, it’s a pleasant surprise to see an enjoyable romp that has likeable characters and some nicely filmed set pieces. The problem is, it really doesn’t feel anything like Jumanji and regularly feels like the producers down at Sony had dollar signs in their eyes more than anything else.
There’s only one reference to its now classic predecessor, an homage to Robin William’s Alan Parrish but this is such a fleeting indication of any connection to the 1995 film, it’s barely noticeable. The film may as well lose the Jumanji tag from its name and be done with it: of course that wouldn’t sell half as many tickets now would it?
Of the school-age characters, none of them make any impact before being sucked into Jumanji, now a video game, and director Jake Kasdan (Bad Teacher) wisely focusses on their avatar characters instead. Dwayne Johnson is always reliable and plays the fish-out-of-water nerd surprisingly well. He also has great chemistry with Kevin Hart and the two share some of the film’s best sequences.
Jack Black is hilarious as his inner female tries to break through at numerous points throughout the movie and Karen Gillan shows particular warmth as the awkward Martha. Nick Jonas also stars in a role originally destined for Tom Holland and continues to prove what a versatile actor he has become.
It’s a pleasant surprise to see an enjoyable romp that has likeable characters and some nicely filmed set pieces.
Jake Kasdan films the action confidently and with visual panache but the CGI at times is left wanting, disappointing in this day and age. A helicopter ride across a rhino-infested canyon is particularly fun to watch and the way in which the writers write the film around video game lore is exciting and makes for a pleasant distraction from an otherwise mediocre script.
What the film does have in abundance however is laughs. Indeed, they are of the Dairylea variety, cheesy, but sometimes that’s exactly what you need. Jumanji: Welcome to the Jungle is a very funny film that knows how to squeeze every last drop of humour from its writing.
It’s also very well paced. Apart from a few lapses in judgement where the screenwriters desperately try to make us feel emotion towards the characters – we don’t – the film really doesn’t have a boring moment to its name and at 119 minutes, that’s a real achievement.
Overall, Jumanji: Welcome to the Jungle is a film that is fun to watch, if a little lacking in originality. All the lead actors perform their roles well, with Jack Black being a particular highlight. Unfortunately, while I’m not usually one for sickly nostalgia, the film really needed to provide a few more tasteful references to its predecessor, especially considering its link to the wonderful Robin Williams.
https://moviemetropolis.net/2017/12/10/jumanji-welcome-to-the-jungle-review-im-a-celebrity-get-me-out-of-here/
BankofMarquis (1832 KP) rated Ford v Ferrari (aka Le Mans '66) (2019) in Movies
Nov 25, 2019
GREAT chemistry between Bale and Damon
Most people are attending - or staying away from - the new James Mangold film, FORD v FERRARI because it is a "race car flick". But to label it as just that is doing a disservice to this film, so if that is what is keeping you away from this movie, think again, for this film is much more than a race car film.
It is, at it's core, a film about friendship and loyalty in the face of adversity and is a very serious contender for multiple awards this Oscar season.
A long gestating film project (Director Mangold first came across this property in 2010), FORD v FERRARI tells the tale of the Ford Motor Company's attempt to unseat the Italian car company, Ferrari, as an elite race car producer by defeating it on it's own turf - the 24 hour race at LeMans.
Entrusted to make this dream a reality by Henry Ford II (Tracy Letts) is (now) legendary race car designer Carroll Shelby (Matt Damon) who turns to his reckless friend - and top race car driver - Ken Miles (Christian Bale) to help put this project over the top.
Will this duo succeed? Will Ford topple Ferrari? Can Shelby help smooth the rough waters that the temperamental Miles will, inevitably, create? What do you think?
But it is the journey - and not the destination - that is the joy of this film, for under the watchful, steady eye of veteran Director Mangold (WALK THE LINE) this film is much, much more than the cliched journey of a maverick bucking the system to, ultimately, prevail. It is a study of friendship and loyalty under intense pressure and Mangold finds the right balance between showing hardcore racing and the friendship and camaraderie of Miles and Shelby.
Mangold, of course, smartly knew that the success (or failure) of this film will rest on the chemistry between the two leads of this film - and he cast them well. Matt Damon brings his usual charm and easy-going attitude to Carroll Shelby, making him the heart and anchor of this film - we see the events unfold through his eyes - and he is a an easy stand-in for the audience during the proceedings and is someone that we are happy, and comfortable, to spend the 2 1/2 hours of this film with.
This is good, for he is strongly complimented - and challenged - by the hard intensity that Christian Bale brings to his portrayal of Ken Miles. This real-life racing car legend is driven (pun intended) to excellence, and does not suffer fools gladly. We spend a good amount of time in this film with Miles staring intently out the window of his race car and no one does smoldering, staring intensity better than Bale. This is another Oscar-worthy performance by an actor who has made a career of Oscar-worthy performances and has me asking - is he the finest actor working today? He certainly is in the conversation.
Bale and Damon play off each other very well, their chemistry seems real and we believe that these are 2 old friends working together. This is the first pairing of these two, and based on these results, I would guess that we'll be seeing these two in a film together again.
They are joined by strong supporting work by the likes of Letts, Jon Bernthal (portraying Lee Iacocca) and Caitriona Balfe (as Miles wife, Mollie). Only Josh Lucas (as the a-hole antagonist of the film) fares less well as his character is written in one note and Lucas just plays that note.
The racing scenes are well done - giving us the visceral intensity of what it must be like in the car, and in the pits, of a major race experience. But it is the friendship between Miles and Shelby that really is the engine that drives this film.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank (ofMarquis)
It is, at it's core, a film about friendship and loyalty in the face of adversity and is a very serious contender for multiple awards this Oscar season.
A long gestating film project (Director Mangold first came across this property in 2010), FORD v FERRARI tells the tale of the Ford Motor Company's attempt to unseat the Italian car company, Ferrari, as an elite race car producer by defeating it on it's own turf - the 24 hour race at LeMans.
Entrusted to make this dream a reality by Henry Ford II (Tracy Letts) is (now) legendary race car designer Carroll Shelby (Matt Damon) who turns to his reckless friend - and top race car driver - Ken Miles (Christian Bale) to help put this project over the top.
Will this duo succeed? Will Ford topple Ferrari? Can Shelby help smooth the rough waters that the temperamental Miles will, inevitably, create? What do you think?
But it is the journey - and not the destination - that is the joy of this film, for under the watchful, steady eye of veteran Director Mangold (WALK THE LINE) this film is much, much more than the cliched journey of a maverick bucking the system to, ultimately, prevail. It is a study of friendship and loyalty under intense pressure and Mangold finds the right balance between showing hardcore racing and the friendship and camaraderie of Miles and Shelby.
Mangold, of course, smartly knew that the success (or failure) of this film will rest on the chemistry between the two leads of this film - and he cast them well. Matt Damon brings his usual charm and easy-going attitude to Carroll Shelby, making him the heart and anchor of this film - we see the events unfold through his eyes - and he is a an easy stand-in for the audience during the proceedings and is someone that we are happy, and comfortable, to spend the 2 1/2 hours of this film with.
This is good, for he is strongly complimented - and challenged - by the hard intensity that Christian Bale brings to his portrayal of Ken Miles. This real-life racing car legend is driven (pun intended) to excellence, and does not suffer fools gladly. We spend a good amount of time in this film with Miles staring intently out the window of his race car and no one does smoldering, staring intensity better than Bale. This is another Oscar-worthy performance by an actor who has made a career of Oscar-worthy performances and has me asking - is he the finest actor working today? He certainly is in the conversation.
Bale and Damon play off each other very well, their chemistry seems real and we believe that these are 2 old friends working together. This is the first pairing of these two, and based on these results, I would guess that we'll be seeing these two in a film together again.
They are joined by strong supporting work by the likes of Letts, Jon Bernthal (portraying Lee Iacocca) and Caitriona Balfe (as Miles wife, Mollie). Only Josh Lucas (as the a-hole antagonist of the film) fares less well as his character is written in one note and Lucas just plays that note.
The racing scenes are well done - giving us the visceral intensity of what it must be like in the car, and in the pits, of a major race experience. But it is the friendship between Miles and Shelby that really is the engine that drives this film.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank (ofMarquis)
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Sarah (7800 KP) rated Crisis (2021) in Movies
Feb 19, 2021
Worth it just for Oldman
Crisis is a 2021 film from write, director and producer Nicholas Jarecki, who previously brought us 2012's Arbitrage starring Richard Gere. Crisis is a story about drugs, namely opioids, and follows three separate yet related narratives about opioids and their impact on US society. There's an undercover DEA agent posing as a drug trafficker arranging a Fentanyl smuggling operation between Canada and the US (Armie Hammer), a recovering addict architect determined to track down those responsible for her son's involvement in narcotics (Evangeline Lilly), and a university professor (Gary Oldman) who's research laboratory uncovers dangerous revelations about a new drug that they've been paid to research by a very influential drug company and their executives (Luke Evans).
The main purpose of Crisis appears to be highlighting two entirely juxtaposed real life issues with opioids - the illegal smuggling and import of street drugs and the completely legal yet questionable drugs introduced by drug companies with full support of the government. For most, neither of these stories should be particularly surprising as they're fairly common knowledge and have been featured in countless films and documentaries over the years, although I think this may be the first time the two stories have been shown together in a film. And for Crisis this really works - showing the two contrasting issues makes for a more interesting and unique story rather than concentrating solely on one that we've seen many times before, especially as its split into three separate narratives.
However, the problem with Crisis is that not all of the narratives are as engaging as intended. Evangeline Lilly puts in a wonderful and emotional performance as architect and mother Claire, but her narrative becomes a little unrealistic as she becomes bent on revenge at those responsible for involving her son in the drugs underworld. And unfortunately Armie Hammer's narrative as undercover federal agent Jake is nothing original, with a smuggling operation and drugs bust that we've seen in many other films, some of which I'm afraid have done it a lot better. The most interesting narrative though is that of Gary Oldman as Dr Tyrone Brower, whose struggle over whether to tell the truth about a new dangerous drug or take the money from his drug company employers is a surprisingly thrilling morality tale. It's helped by a superb turn from Oldman himself and a wonderful supporting role from Greg Kinnear (who I've adored since 1997's As Good As It Gets), and the verbal sparring scenes between Brower and Kinnear's university Dean are probably the best in the film. It's a shame however that Luke Evans isn't given as much to do with his part in this narrative, even with his questionable American accent.
The biggest problem I had with all of the narratives is that unlike similar films that intertwine related narratives that eventually intersect dramatically (think 2006's Best Picture Oscar winner Crash), the narratives here don't all come together in the way I was expecting, which was rather disappointing.
Cinematography-wise, director and writer Jarecki does a good job as the film looks and feels good, and really highlights the US and Canadian settings. The soundtrack only adds to the overall tense and suspenseful feel of the film, although it does feature the typical pulsing, drum beat style that seems to be standard for a modern thriller. And the script, while possibly a little clichéd especially around the drugs bust and smuggling, is good and with his supporting acting role as Jake's fellow DEA agent Stan, Nicholas Jarecki could be one to watch in future.
Overall, Crisis is a good thriller that tells the story of well-known drug issues in a different way and does well in highlighting real life concerns. For the most part it succeeds in bringing an interesting set of narratives together for a fairly gripping albeit slightly long film, and despite my preconceptions about how its intersecting storylines should play out, it is an enjoyable watch, although for the most part thanks to the talents of Gary Oldman.
The main purpose of Crisis appears to be highlighting two entirely juxtaposed real life issues with opioids - the illegal smuggling and import of street drugs and the completely legal yet questionable drugs introduced by drug companies with full support of the government. For most, neither of these stories should be particularly surprising as they're fairly common knowledge and have been featured in countless films and documentaries over the years, although I think this may be the first time the two stories have been shown together in a film. And for Crisis this really works - showing the two contrasting issues makes for a more interesting and unique story rather than concentrating solely on one that we've seen many times before, especially as its split into three separate narratives.
However, the problem with Crisis is that not all of the narratives are as engaging as intended. Evangeline Lilly puts in a wonderful and emotional performance as architect and mother Claire, but her narrative becomes a little unrealistic as she becomes bent on revenge at those responsible for involving her son in the drugs underworld. And unfortunately Armie Hammer's narrative as undercover federal agent Jake is nothing original, with a smuggling operation and drugs bust that we've seen in many other films, some of which I'm afraid have done it a lot better. The most interesting narrative though is that of Gary Oldman as Dr Tyrone Brower, whose struggle over whether to tell the truth about a new dangerous drug or take the money from his drug company employers is a surprisingly thrilling morality tale. It's helped by a superb turn from Oldman himself and a wonderful supporting role from Greg Kinnear (who I've adored since 1997's As Good As It Gets), and the verbal sparring scenes between Brower and Kinnear's university Dean are probably the best in the film. It's a shame however that Luke Evans isn't given as much to do with his part in this narrative, even with his questionable American accent.
The biggest problem I had with all of the narratives is that unlike similar films that intertwine related narratives that eventually intersect dramatically (think 2006's Best Picture Oscar winner Crash), the narratives here don't all come together in the way I was expecting, which was rather disappointing.
Cinematography-wise, director and writer Jarecki does a good job as the film looks and feels good, and really highlights the US and Canadian settings. The soundtrack only adds to the overall tense and suspenseful feel of the film, although it does feature the typical pulsing, drum beat style that seems to be standard for a modern thriller. And the script, while possibly a little clichéd especially around the drugs bust and smuggling, is good and with his supporting acting role as Jake's fellow DEA agent Stan, Nicholas Jarecki could be one to watch in future.
Overall, Crisis is a good thriller that tells the story of well-known drug issues in a different way and does well in highlighting real life concerns. For the most part it succeeds in bringing an interesting set of narratives together for a fairly gripping albeit slightly long film, and despite my preconceptions about how its intersecting storylines should play out, it is an enjoyable watch, although for the most part thanks to the talents of Gary Oldman.
Bob Mann (459 KP) rated Promising Young Woman (2020) in Movies
Apr 20, 2021
Writing and directing is pitch perfect (1 more)
Carey Mulligan - awesome acting
Emerald Fennell delivers a real ‘page turner’ of a movie
"Promising Young Woman" sees Cassie (Carrie Mulligan) out to wage war on predatory men sexually asserting themselves on vulnerable woman in bars. But with the chance mention of a name, her mission takes on a whole new level and becomes very personal. How far will Carrie go to right a wrong?
Positives:
- Where to start! This is an astonishingly engrossing story from the multi-talented Emerald Fennell. It's rare to find a movie script where you have no idea in which direction the plot will take you. Some of the twists in this movie (no spoilers) are quite Hitchcockian in their execution. And Fennell cocks a wonderful snook at the 'Hollywood ending' that takes your breath away.
- Fennell also directs superbly, never letting the viewer get bored for an instant (the film doesn't outstay its welcome at only 113 minutes). The "show don't tell" approach shows respect for the audience's intelligence. (What happened after the boozy lunch? Who's voice was it on the video?) The use of 'chapter headings' as well is clever and reminiscent of Quentin Tarantino.
- And Carrie Mulligan! A simply stunning performance. What WAS that 'Variety' critic on about in saying she was "not hot enough" to play this role? Had he not fed his Guide Dog or something that day? Mulligan first drew my attention and respect when she was just 20 years old playing Ada in the BBC's "Bleak House": she had "star" written all over her. And so it has proved. Arguably - since there are so many stunning performances on her CV - this is a career best for her.
- Again reminiscent of Tarantino (and indeed "Killing Eve") is the wonderful use of music (by Anthony Willis). As well as some deliciously 'bubblegum' tracks (for example, one by Paris Hilton) there are some seriously "out there" choices. For example, "Pearl's Dream" (about the "pretty fly") is taken from the 1955 movie "The Night of the Hunter". It's haunting and evocative, reflecting the shattering revelation for Cassie within the story.
- Hair and Make-up (Angela Wells), Costume (Nancy Steiner), Cinematography (Benjamin Kracun), Editing (Frédéric Thoraval): all top-notch.
Negatives:
- For once, not a single one!
Summary Thoughts:
Sex without consent is rape. A woman, intoxicated through drink or drugs, cannot give consent. The rules aren't difficult are they? Anyone who's been to a city centre bar or nightclub late at night will have seen - or suspected they've seen - this sort of slow-motion car crash in progress.
This movie will inevitably be seen as the 'poster-child' for this aspect of the "Me Too" movement, and rightly so. And because the movie is so fabulous, it is inevitably going to have a positive effect in highlighting the issue.
Those woman who have had these experiences (and I'm sure there are a LOT of them out there, many of who will have never gone to the police) will probably not want to be further traumatised by watching the movie. But, for everyone else. If the first five minutes make you feel queasily like "this one's not for me" then it's worth sticking with it. it's all done in good taste.
One of the reasons this movie is so good is because of Emerald Fennell. What a talent she is! In acting mode, she plays Sarah Ferguson in "The Crown" and - in an uncredited cameo - the "blow job make-up" video blog lady in this. In writing mode, she's delivered the brilliant BAFTA-winning script for this as well as series two of "Killing Eve". And now in directing mode, she delivers this stunning directorial debut. She's even writing a musical version of "Cinderella" with Andrew Lloyd-Webber! (Come on love, you're just making us all feel wholly inadequate!)
"Promising Young Woman" is the easiest 10* movie I've rated in a while. And it soars straight to the top of my current long-list for my "Films of the Year 2021".
(For the full graphical review, check out the One Mann's Movies review here https://bob-the-movie-man.com/2021/04/20/promising-young-woman-emerald-fennell-delivers-a-real-page-turner-of-a-movie/. Thanks).
Positives:
- Where to start! This is an astonishingly engrossing story from the multi-talented Emerald Fennell. It's rare to find a movie script where you have no idea in which direction the plot will take you. Some of the twists in this movie (no spoilers) are quite Hitchcockian in their execution. And Fennell cocks a wonderful snook at the 'Hollywood ending' that takes your breath away.
- Fennell also directs superbly, never letting the viewer get bored for an instant (the film doesn't outstay its welcome at only 113 minutes). The "show don't tell" approach shows respect for the audience's intelligence. (What happened after the boozy lunch? Who's voice was it on the video?) The use of 'chapter headings' as well is clever and reminiscent of Quentin Tarantino.
- And Carrie Mulligan! A simply stunning performance. What WAS that 'Variety' critic on about in saying she was "not hot enough" to play this role? Had he not fed his Guide Dog or something that day? Mulligan first drew my attention and respect when she was just 20 years old playing Ada in the BBC's "Bleak House": she had "star" written all over her. And so it has proved. Arguably - since there are so many stunning performances on her CV - this is a career best for her.
- Again reminiscent of Tarantino (and indeed "Killing Eve") is the wonderful use of music (by Anthony Willis). As well as some deliciously 'bubblegum' tracks (for example, one by Paris Hilton) there are some seriously "out there" choices. For example, "Pearl's Dream" (about the "pretty fly") is taken from the 1955 movie "The Night of the Hunter". It's haunting and evocative, reflecting the shattering revelation for Cassie within the story.
- Hair and Make-up (Angela Wells), Costume (Nancy Steiner), Cinematography (Benjamin Kracun), Editing (Frédéric Thoraval): all top-notch.
Negatives:
- For once, not a single one!
Summary Thoughts:
Sex without consent is rape. A woman, intoxicated through drink or drugs, cannot give consent. The rules aren't difficult are they? Anyone who's been to a city centre bar or nightclub late at night will have seen - or suspected they've seen - this sort of slow-motion car crash in progress.
This movie will inevitably be seen as the 'poster-child' for this aspect of the "Me Too" movement, and rightly so. And because the movie is so fabulous, it is inevitably going to have a positive effect in highlighting the issue.
Those woman who have had these experiences (and I'm sure there are a LOT of them out there, many of who will have never gone to the police) will probably not want to be further traumatised by watching the movie. But, for everyone else. If the first five minutes make you feel queasily like "this one's not for me" then it's worth sticking with it. it's all done in good taste.
One of the reasons this movie is so good is because of Emerald Fennell. What a talent she is! In acting mode, she plays Sarah Ferguson in "The Crown" and - in an uncredited cameo - the "blow job make-up" video blog lady in this. In writing mode, she's delivered the brilliant BAFTA-winning script for this as well as series two of "Killing Eve". And now in directing mode, she delivers this stunning directorial debut. She's even writing a musical version of "Cinderella" with Andrew Lloyd-Webber! (Come on love, you're just making us all feel wholly inadequate!)
"Promising Young Woman" is the easiest 10* movie I've rated in a while. And it soars straight to the top of my current long-list for my "Films of the Year 2021".
(For the full graphical review, check out the One Mann's Movies review here https://bob-the-movie-man.com/2021/04/20/promising-young-woman-emerald-fennell-delivers-a-real-page-turner-of-a-movie/. Thanks).
Gareth von Kallenbach (980 KP) rated the PlayStation 4 version of Tony Hawk's Pro Skater 1 + 2 (Remastered) in Video Games
Oct 8, 2020
Tony Hawk Pro Skater 1+2 Takes What Was Old And Makes It New And Amazing
It’s a sunny day in Southern California. Friends are gathered around the Playstation and the CRT. The game in the console is letting us do what many of us just can’t do in real life. You’re mashing buttons trying to string together those combos for bragging rights among your friends. There’s a cold drink by your side, and your friend’s mom pops in to see if anyone wants some tortas. Nostalgia at its finest. I know this wasn’t everyone’s childhood, it wasn’t even mine most of the time. But those moments when we were blissfully unaware of what the future holds were some of the greatest of our lives. And like some out there, I can link a lot of this to video games, and few are more important in my life than Tony Hawk’s Pro Skater.
Flash forward 21 years and the world is crumbling around us. But there’s still that shining light waiting for those of us that know. An escape. A chance to do something we really can’t do in real life. Most of us couldn’t do it in 1999 either, but that’s neither here nor there. Tony Hawk’s Pro Skater 1+2 is the perfect release during this pandemic, whether you believe in it or not (I can’t believe I actually have to type those words). It gives the nostalgic fun to the old-timers like me, and introduces a whole new generation of gamers.
As I am sure you know by now, THPS1+2 is essentially the exact same games that we know and love, with a few minor tweaks. First and foremost, graphics have been updated significantly. From cut scenes to gameplay, everything has been modernized. Even the veteran skaters in the game have been updated to their current appearances, though their original appearances in the game are still available. There are other small things, like Subway Tokens being updated to Subway Cards, which, in true Tony Hawk fashion, are also about to be discontinued from use in the NY Subway System (tokens were on their way out when the game first released).
We also see some new skaters this time around, with a good addition of female skaters to the game. But beyond that, the games are, in many, many ways the same as original. It feels the same, and quite honestly looks the exact same to what I remember. Now clearly, this is not the case, but it’s weird what the brain will tell you when looking at things 20 years apart. Not only is the game play, goals, and levels set up exactly the same as it has always been, even most of the original soundtrack is present, with the addition of 37 new songs as well.
There’s not a lot I can tell you that will convince you either way. You’re either a fan of the series or you’re not. If you had a problem with the series back then, especially some people’s issues over the controls (which brought about competition such as Skate – which is being rebooted as well – or the newly released Skater XL), you will likely have the same issues now. As mentioned, and as you will see in many reviews, the gameplay is nearly identical to the first releases of both games. It is just really nice to revisit an important part of my young adult life, even if they still included those crappy competition levels.
With a price tag of $39.99, Tony Hawk Pro Skater 1+2 seems the perfect bit of happy distraction to help get us through the unknown in these difficulty times. My only qualm with the game would be platform availability. It’s available on PS4, Xbox One, and PC (by way of Epic Games Store), but I think they hindered themselves with 2 decisions: no Nintendo Switch version and EGS. I would love to be able to take this game on the go with me on the Nintendo, and the alleged anti-consumer practices of Epic Games regarding their store, not to mention their current publicity stunt with Apple and Google, has left a sour taste in the mouths of many gamers. Hopefully we will see availability on more platforms, including Stadia, in the future.
Flash forward 21 years and the world is crumbling around us. But there’s still that shining light waiting for those of us that know. An escape. A chance to do something we really can’t do in real life. Most of us couldn’t do it in 1999 either, but that’s neither here nor there. Tony Hawk’s Pro Skater 1+2 is the perfect release during this pandemic, whether you believe in it or not (I can’t believe I actually have to type those words). It gives the nostalgic fun to the old-timers like me, and introduces a whole new generation of gamers.
As I am sure you know by now, THPS1+2 is essentially the exact same games that we know and love, with a few minor tweaks. First and foremost, graphics have been updated significantly. From cut scenes to gameplay, everything has been modernized. Even the veteran skaters in the game have been updated to their current appearances, though their original appearances in the game are still available. There are other small things, like Subway Tokens being updated to Subway Cards, which, in true Tony Hawk fashion, are also about to be discontinued from use in the NY Subway System (tokens were on their way out when the game first released).
We also see some new skaters this time around, with a good addition of female skaters to the game. But beyond that, the games are, in many, many ways the same as original. It feels the same, and quite honestly looks the exact same to what I remember. Now clearly, this is not the case, but it’s weird what the brain will tell you when looking at things 20 years apart. Not only is the game play, goals, and levels set up exactly the same as it has always been, even most of the original soundtrack is present, with the addition of 37 new songs as well.
There’s not a lot I can tell you that will convince you either way. You’re either a fan of the series or you’re not. If you had a problem with the series back then, especially some people’s issues over the controls (which brought about competition such as Skate – which is being rebooted as well – or the newly released Skater XL), you will likely have the same issues now. As mentioned, and as you will see in many reviews, the gameplay is nearly identical to the first releases of both games. It is just really nice to revisit an important part of my young adult life, even if they still included those crappy competition levels.
With a price tag of $39.99, Tony Hawk Pro Skater 1+2 seems the perfect bit of happy distraction to help get us through the unknown in these difficulty times. My only qualm with the game would be platform availability. It’s available on PS4, Xbox One, and PC (by way of Epic Games Store), but I think they hindered themselves with 2 decisions: no Nintendo Switch version and EGS. I would love to be able to take this game on the go with me on the Nintendo, and the alleged anti-consumer practices of Epic Games regarding their store, not to mention their current publicity stunt with Apple and Google, has left a sour taste in the mouths of many gamers. Hopefully we will see availability on more platforms, including Stadia, in the future.
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