Search
Search results
LeftSideCut (3776 KP) rated Star Wars: Episode III – Revenge of the Sith (2005) in Movies
Nov 29, 2019 (Updated Dec 20, 2019)
The final chapter of the Star Wars prequel trilogy is definitely the high point (which isn't the highest praise...) throwing a large amount of sci-fi action at the audience, whilst bring the Star Wars narrative full circle and finally tying into the first film.
The action is over gratuitous at times, but it's still entertaining enough - the opening space battle, the climatic battle between Jedis, the harrowing Order 66 scene.
The special effects here are noticably improved from Episodes I and II, and once again, the various locations and landscapes that we're shown are stunning to look at (Kashyyyk is a good example).
The most important character arc here is of course Anakin's, as he completes his turn to the dark side and steps further towards the iconic Darth Vader. I much prefer Hayden Christensen this time around, although he's still wooden in parts - I get the feeling that he's trying his best, but George Lucas isn't giving a whole lot for him to work with.
Ewan McGregor is great once again as Obi Wan.
The biggest new character we're introduced to in ROTS is General Grievous, who's ok I guess - he's nothing more than a CGI model designed to sell merchandise, but then again, who doesn't want to see someone wield four lightsabers at once ey?
The dialogue is just about more bearable than in the other two prequel films, and the movie has a general sense of 'getting shit done' than before, and it's all the better for it and has some dark turns here and there.
There are some cringey bits of course - the unessecary Chewbacca line for one, and of course, the god awful 'NOOOOOOO' line near the end (literal sick in my mouth)
When looking back on the prequel trilogy of Star Wars, it's easy to cast them aside and say they're no good, when in reality, that's not wholly true. They have they're moments and will always be something that I'll (maybe) watch when they're on TV...
The action is over gratuitous at times, but it's still entertaining enough - the opening space battle, the climatic battle between Jedis, the harrowing Order 66 scene.
The special effects here are noticably improved from Episodes I and II, and once again, the various locations and landscapes that we're shown are stunning to look at (Kashyyyk is a good example).
The most important character arc here is of course Anakin's, as he completes his turn to the dark side and steps further towards the iconic Darth Vader. I much prefer Hayden Christensen this time around, although he's still wooden in parts - I get the feeling that he's trying his best, but George Lucas isn't giving a whole lot for him to work with.
Ewan McGregor is great once again as Obi Wan.
The biggest new character we're introduced to in ROTS is General Grievous, who's ok I guess - he's nothing more than a CGI model designed to sell merchandise, but then again, who doesn't want to see someone wield four lightsabers at once ey?
The dialogue is just about more bearable than in the other two prequel films, and the movie has a general sense of 'getting shit done' than before, and it's all the better for it and has some dark turns here and there.
There are some cringey bits of course - the unessecary Chewbacca line for one, and of course, the god awful 'NOOOOOOO' line near the end (literal sick in my mouth)
When looking back on the prequel trilogy of Star Wars, it's easy to cast them aside and say they're no good, when in reality, that's not wholly true. They have they're moments and will always be something that I'll (maybe) watch when they're on TV...
Matthew Krueger (10051 KP) rated Get Out (2017) in Movies
Feb 3, 2020
Psychologcally Disburing
Jordan Peele goes from comedy to horror, as his directorial debut, he does a excellent/fantasic/phenomenal job. Going from one genre to anethor is hard, but Jordan Peele did the impossible, and he successed, all expectations. This film is psycologically twisted, horrorfyng, suspenseful and thrilling till the very end.
So this movie does have a theme, This disturbing film ... is really about how white America has mastered its relationship with black America. Within all of the interracial tension is the white American’s strange envy of the grim determination, melancholy humor, and creative strength of the black race. ... But Peele’s irony is that white America will continue to do what it does despite these truths, and, sadly, so must black America remain hypnotized.
The film also depicts the lack of attention on missing black Americans compared to missing white females. Slate's Damon Young stated the film's premise was "depressingly plausible ... Although black people only comprise 13 percent of America's population, they are 34 percent of America's missing, a reality that exists as the result of a mélange of racial and socioeconomic factors rendering black lives demonstratively less valuable than the lives [of] our white counterparts.
Peele does a excellent of this theme, of the world that we live in today and his views on it.
The Plot: Now that Chris (Daniel Kaluuya) and his girlfriend, Rose (Allison Williams), have reached the meet-the-parents milestone of dating, she invites him for a weekend getaway upstate with Missy and Dean. At first, Chris reads the family's overly accommodating behavior as nervous attempts to deal with their daughter's interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries lead him to a truth that he never could have imagined.
This film is a must watch, if you havent seen it, than go and see it. Its psycologically twisted, horrorfying, thrilling, suspenseful and overall excellent.
So this movie does have a theme, This disturbing film ... is really about how white America has mastered its relationship with black America. Within all of the interracial tension is the white American’s strange envy of the grim determination, melancholy humor, and creative strength of the black race. ... But Peele’s irony is that white America will continue to do what it does despite these truths, and, sadly, so must black America remain hypnotized.
The film also depicts the lack of attention on missing black Americans compared to missing white females. Slate's Damon Young stated the film's premise was "depressingly plausible ... Although black people only comprise 13 percent of America's population, they are 34 percent of America's missing, a reality that exists as the result of a mélange of racial and socioeconomic factors rendering black lives demonstratively less valuable than the lives [of] our white counterparts.
Peele does a excellent of this theme, of the world that we live in today and his views on it.
The Plot: Now that Chris (Daniel Kaluuya) and his girlfriend, Rose (Allison Williams), have reached the meet-the-parents milestone of dating, she invites him for a weekend getaway upstate with Missy and Dean. At first, Chris reads the family's overly accommodating behavior as nervous attempts to deal with their daughter's interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries lead him to a truth that he never could have imagined.
This film is a must watch, if you havent seen it, than go and see it. Its psycologically twisted, horrorfying, thrilling, suspenseful and overall excellent.
Matthew Krueger (10051 KP) rated Us (2019) in Movies
Feb 3, 2020 (Updated Feb 3, 2020)
The Upside Down
Us- is Jordan Peele's second film as a director. This film like Get Out, is excellent, phenomenal, horrorfying, suspenseful, terrorfying and overall great.
The Plot: Accompanied by her husband, son and daughter, Adelaide Wilson returns to the beachfront home where she grew up as a child. Haunted by a traumatic experience from the past, Adelaide grows increasingly concerned that something bad is going to happen. Her worst fears soon become a reality when four masked strangers descend upon the house, forcing the Wilsons into a fight for survival. When the masks come off, the family is horrified to learn that each attacker takes the appearance of one of them.
So like Get Out, this movie does have a theme. Lets talk about it...
"One of the central themes in Us is that we can do a good job collectively of ignoring the ramifications of privilege. I think it's the idea that what we feel like we deserve comes, you know, at the expense of someone else's freedom or joy. You know, the biggest disservice we can do as a faction with a collective privilege like the United States is to presume that we deserve it, and that it isn't luck that has us born where we're born. For us to have our privilege, someone suffers. That's where the Tethered connection, I think, resonates the most, is that those who suffer and those who prosper are two sides of the same coin. You can never forget that. We need to fight for the less fortunate." Jordan Peele.
So Once Jordan Peele does a excellent job on his theme. Like Get Out, Jordan Peele does a excellent of this theme, of the world that we live in today and his views on it.
Like Get Out, Us is a must watch film, and if you havent seen it, than you must. Its psychological twisted, horrorfying, twisted, suspenseful, great, phenomenal and excellent until the very end.
The Plot: Accompanied by her husband, son and daughter, Adelaide Wilson returns to the beachfront home where she grew up as a child. Haunted by a traumatic experience from the past, Adelaide grows increasingly concerned that something bad is going to happen. Her worst fears soon become a reality when four masked strangers descend upon the house, forcing the Wilsons into a fight for survival. When the masks come off, the family is horrified to learn that each attacker takes the appearance of one of them.
So like Get Out, this movie does have a theme. Lets talk about it...
"One of the central themes in Us is that we can do a good job collectively of ignoring the ramifications of privilege. I think it's the idea that what we feel like we deserve comes, you know, at the expense of someone else's freedom or joy. You know, the biggest disservice we can do as a faction with a collective privilege like the United States is to presume that we deserve it, and that it isn't luck that has us born where we're born. For us to have our privilege, someone suffers. That's where the Tethered connection, I think, resonates the most, is that those who suffer and those who prosper are two sides of the same coin. You can never forget that. We need to fight for the less fortunate." Jordan Peele.
So Once Jordan Peele does a excellent job on his theme. Like Get Out, Jordan Peele does a excellent of this theme, of the world that we live in today and his views on it.
Like Get Out, Us is a must watch film, and if you havent seen it, than you must. Its psychological twisted, horrorfying, twisted, suspenseful, great, phenomenal and excellent until the very end.
JT (287 KP) rated King of Devil's Island (2011) in Movies
Mar 10, 2020
Any story about rebelling against the system is generally going to get an audience, people love an underdog story and King of Devil’s Island is a chilling one, in almost the literal sense.
Erling (Helstad) is a troubled individual and when he makes the journey to the island of Bastoy his stay is not going to be a pleasant one, but one of hardship and manual labour. Under the watchful eye of Bestyreren (the ever brilliant Skarsgård) he has to follow the rules or face punishment in the worst form possible, and that’s after trying to battle the freezing Nordic winters.
Even when he is read the rules the only thing on his mind is escape, failed attempts only bring more pain and misery. Inside he manages to share a bond with some of the other boys, but those who have been there for longer know the rules and rarely step out of line.
Along the way he is forced to deal with the harsh reality of the situation, and when Bestyreren let’s the return of vicious guard Bråthen back into the borstal the revolt begins. The Norwegian surroundings are an unforgiving place especially in this environment as Erling finds out the hard way, in one punishment he is made to move massive rocks from one spot on the ground to the other.
There is a sense that Bestyreren’s motives are for the good of the boys he presides over, he is harsh but fair and if anything he has empathy for them although he doesn’t show it. Turning them from outcast delinquents into responsible men.
The acting is solid, Skarsgård is always a commendable actor and turns in a decent performance, Benjamin Helstad also does a great job for someone quite unknown in world cinema. But Holst captures the essence for the need to survive and break the so called chains, it’s a powerful film, but then most Norwegian films that I have seen lately have been like that.
Erling (Helstad) is a troubled individual and when he makes the journey to the island of Bastoy his stay is not going to be a pleasant one, but one of hardship and manual labour. Under the watchful eye of Bestyreren (the ever brilliant Skarsgård) he has to follow the rules or face punishment in the worst form possible, and that’s after trying to battle the freezing Nordic winters.
Even when he is read the rules the only thing on his mind is escape, failed attempts only bring more pain and misery. Inside he manages to share a bond with some of the other boys, but those who have been there for longer know the rules and rarely step out of line.
Along the way he is forced to deal with the harsh reality of the situation, and when Bestyreren let’s the return of vicious guard Bråthen back into the borstal the revolt begins. The Norwegian surroundings are an unforgiving place especially in this environment as Erling finds out the hard way, in one punishment he is made to move massive rocks from one spot on the ground to the other.
There is a sense that Bestyreren’s motives are for the good of the boys he presides over, he is harsh but fair and if anything he has empathy for them although he doesn’t show it. Turning them from outcast delinquents into responsible men.
The acting is solid, Skarsgård is always a commendable actor and turns in a decent performance, Benjamin Helstad also does a great job for someone quite unknown in world cinema. But Holst captures the essence for the need to survive and break the so called chains, it’s a powerful film, but then most Norwegian films that I have seen lately have been like that.
JT (287 KP) rated Into The Abyss (2011) in Movies
Mar 10, 2020
Every now and again I like to leave the fictional world of film and take a trip into reality. I did so with Into the Abyss. A film by Werner Herzog (Rescue Dawn) it looks at the always controversial capital punishment, and focuses on one particular triple murder in the state of Texas.
Using actual footage of the crime scenes which is disturbing enough, Herzog also draws on the real life interviews of those involved and how it has affected their lives. It also explains to us what causes a person to commit murder, and if taking a life for a life really is worth it in the long run.
What is the most shocking with this film is the complete lack of remorse both inmates have. Michael Perry the condemned, man is courteous and polite in his responses as he sits looking through the perspex glass that separates him from Herzog.
As Herzog states at their first meeting he doesn’t particularly like him but he has respect for him, more than likely due in part to the honestly of his answers and how he’s dealing with certain death. The other is Jason Burkett, sentenced to life for his part in the crime, he won’t get out until much past sixty-five, a terrifying prospect when you’re only in your twenties.
Burkett still tries to command a normal life, married to someone on the outside who he rarely gets to touch physically they have a child on the way, although the conception is kept a closely guarded secret, despite advances to find out by Herzog. Both men have always blamed the other and both claimed their innocence.
The film is broken down into chapters, opening with a somber account of life and death from The Reverend Richard Lopez, the man that holds the hand of those sent to death, for their final walk into the unknown. It then quickly moves to an in-depth look at the murders, the how, the why and the where? This all makes for an impactul watch.
Using actual footage of the crime scenes which is disturbing enough, Herzog also draws on the real life interviews of those involved and how it has affected their lives. It also explains to us what causes a person to commit murder, and if taking a life for a life really is worth it in the long run.
What is the most shocking with this film is the complete lack of remorse both inmates have. Michael Perry the condemned, man is courteous and polite in his responses as he sits looking through the perspex glass that separates him from Herzog.
As Herzog states at their first meeting he doesn’t particularly like him but he has respect for him, more than likely due in part to the honestly of his answers and how he’s dealing with certain death. The other is Jason Burkett, sentenced to life for his part in the crime, he won’t get out until much past sixty-five, a terrifying prospect when you’re only in your twenties.
Burkett still tries to command a normal life, married to someone on the outside who he rarely gets to touch physically they have a child on the way, although the conception is kept a closely guarded secret, despite advances to find out by Herzog. Both men have always blamed the other and both claimed their innocence.
The film is broken down into chapters, opening with a somber account of life and death from The Reverend Richard Lopez, the man that holds the hand of those sent to death, for their final walk into the unknown. It then quickly moves to an in-depth look at the murders, the how, the why and the where? This all makes for an impactul watch.
Gareth von Kallenbach (980 KP) rated Demolition (2016) in Movies
Aug 6, 2019
It is often said that when we lose a loved one, we often lose a part of ourselves. In mourning, we have to come to terms with the loss and where we are headed in the future. Who are we now that part of us is gone? Demolition starring Jake Gyllenhaal and Naomi Watts discusses the various aspects with healing and finding oneself. Davis Mitchell (Jake Gyllenhaal) returns to work after losing his wife in a horrific car accident.
While grieving, he writes a complaint letter to a vending machine company about a recent experience he had while waiting in the hospital. Through the letters he lets a stranger and the audience in on his mindset and the reality that he feels disconnected from the world, his wife, and himself. When the company’s customer service rep reads the letters, she feels compelled to contact Davis. She offers a sympathetic ear to his pain and numbness. As their friendship grows, he begins to rebuild his life. The task is large and requires him to follow the advice that his father-in-law passed down to him; In order to fix something, sometimes you need to take it all apart in order to see how it works. Davis begins to deconstruct various pieces of his life in order to find peace with his loss so he can move forward.
Demolition offers a unique and provocative look at loss, grief, and identity. This is a film that will have its audience asking questions about their own lives and if they feel fulfilled or satisfied. The plot stays with you. The performances of each of the characters carries the story and makes us truly connect with them. There isn’t a single moment when you cease to care about who they are or what their lives have in store. There is depth and authenticity throughout this film.
While grieving, he writes a complaint letter to a vending machine company about a recent experience he had while waiting in the hospital. Through the letters he lets a stranger and the audience in on his mindset and the reality that he feels disconnected from the world, his wife, and himself. When the company’s customer service rep reads the letters, she feels compelled to contact Davis. She offers a sympathetic ear to his pain and numbness. As their friendship grows, he begins to rebuild his life. The task is large and requires him to follow the advice that his father-in-law passed down to him; In order to fix something, sometimes you need to take it all apart in order to see how it works. Davis begins to deconstruct various pieces of his life in order to find peace with his loss so he can move forward.
Demolition offers a unique and provocative look at loss, grief, and identity. This is a film that will have its audience asking questions about their own lives and if they feel fulfilled or satisfied. The plot stays with you. The performances of each of the characters carries the story and makes us truly connect with them. There isn’t a single moment when you cease to care about who they are or what their lives have in store. There is depth and authenticity throughout this film.
Gareth von Kallenbach (980 KP) rated To Rome with Love (2012) in Movies
Aug 7, 2019
Before I even begin, I have something to admit, I am not very knowledgeable about Woody Allen. Sure, I have seen the occasional film and have overheard gossip but I am not a Woody Allen buff. To remedy this, I considered running out and renting every one of his films in an attempted cinematic cram session. But I decided not to. There are some people who go to the movies just to enjoy themselves and that is as good of a reason to see a film as any other.
Offering amplified versions of reality, “To Rome with Love” simultaneously feels close to home and utterly foreign. And this ebb and flow defines the entire picture.
With a blend of actors the film runs a marathon of bipolar juxtaposition. From familiar Hollywood faces, playing characters so typified that they needn’t be explained, to European actors, who bring honest perspective to the tourist filled environment.
And “To Rome with Love” is unexpected. There’s a Baldwin in a self-reflective role. Roberto Benigni plays a character that is downright drab. All while sharing a series of stories that question the absurd nature of the human experience.
The film shakes viewers up by exposing them to moments so stereotypic that are simple to grasp yet impossible to believe. And the result is effortless comedy.
Moreover, using only simple effects, strategic angular tricks and precise framing of scenes, “To Rome with Love” gets the audience thinking. The result is an hour and forty minutes that fly by like a dense vacation, too good to explain to your friends back home.
While I will avoid the pretentious research and amplified hyper analysis that follows Woody Allen, I do want to make one point clear; this is a film that anyone, regardless of interest in film study, is apt to enjoy, sure to find funny, and for a few might, even serve as a launch pad to into the cinema of the human condition.
Offering amplified versions of reality, “To Rome with Love” simultaneously feels close to home and utterly foreign. And this ebb and flow defines the entire picture.
With a blend of actors the film runs a marathon of bipolar juxtaposition. From familiar Hollywood faces, playing characters so typified that they needn’t be explained, to European actors, who bring honest perspective to the tourist filled environment.
And “To Rome with Love” is unexpected. There’s a Baldwin in a self-reflective role. Roberto Benigni plays a character that is downright drab. All while sharing a series of stories that question the absurd nature of the human experience.
The film shakes viewers up by exposing them to moments so stereotypic that are simple to grasp yet impossible to believe. And the result is effortless comedy.
Moreover, using only simple effects, strategic angular tricks and precise framing of scenes, “To Rome with Love” gets the audience thinking. The result is an hour and forty minutes that fly by like a dense vacation, too good to explain to your friends back home.
While I will avoid the pretentious research and amplified hyper analysis that follows Woody Allen, I do want to make one point clear; this is a film that anyone, regardless of interest in film study, is apt to enjoy, sure to find funny, and for a few might, even serve as a launch pad to into the cinema of the human condition.
The Sabotage Diaries: The True Story of a Daring Band of Allied Special Forces and Their Covert Operations in Nazi-Occupied Greece
Book
Based on the wartime diaries of Allied soldier and saboteur Tom Barnes, this account of thrilling...
Doing Time with Nehru - The Story of an Indian-Chinese Family
Book
It's midnight and there are fists pounding on the door. Authoritative voices shouting, "We're coming...
Muzzy: My Story
Book
Born in 1974 to Turkish and English parents in London, MUZZY IZZET was a player who crossed the...