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Gareth von Kallenbach (968 KP) rated Prometheus (2012) in Movies
Aug 7, 2019
After nearly 2 years of waiting and rampant speculation, director Ridley Scott’s science-fiction epic Prometheus has finally arrived. The project initially started as a prequel to Alien, and in doing so got the attention of the Alien fan community. After the last two sequels and two disastrous Alien Versus Predator spinoffs, this fan community was eager for the director who started the series to bring the series back to prominence. However, hopes were dashed when it was announced that Prometheus would not be a prequel but instead a standalone film that “shared” DNA with Alien. As production of the film developed under very tight conditions, fans could only speculate as to the nature of the film even when leaked photos and eventually trailers seem to indicate more than a passing connection to the Alien franchise.
The film follows the story of Dr. Elizabeth Shaw (Noomi Rapace), who in the late 21st century makes a startling discovery with her boyfriend Charlie Halloway (Logan Marshall-Green). Their discovery leads to an extremely expensive expedition to an unknown area of space aboard the state-of-the-art research vessel Prometheus. The eclectic but talented crew of experts along for the ride are under the stern watch of Meredith Vickers (Charlize Theron), who has been appointed by the Weyland Corporation to oversee the expedition even though she is highly skeptical about the expected goals that set the crew on the journey.
Holloway and Shaw believe that a series of paintings they discovered at several archaeological sites throughout the world indicated that ancient man had been visited and guided by beings from beyond the stars and that said beings may very well be responsible for engineering humanity as well.
After a journey of nearly 2.5 years the crew arrives at the star system depicted in the paintings and soon find themselves exploring a temple-like structure on an otherwise desolate and apparently lifeless moon. Despite the misgivings of the crew, when the true nature of their expedition is revealed upon their arrival, Shaw and Holloway are vindicated when remains of alien life forms and other technology are discovered by the crew.
Their initial exploration cut short due to a violent storm, the crew returns the safety of the ship to wait out the storm, save for two members of the team who remained at the temple after becoming lost. A series of events follow which soon indicate that not only are there hidden agendas at play but that the crew has stumbled upon a discovery that they are ill-prepared for.
Bizarre and horrific revelations and events follow which cause the crew members to question their motivations and the expedition’s purpose as well as examine their place in a much more complex and dangerous universe, where their petty human concerns and conflicts now seem much more insignificant.
It would be very difficult to go into further detail with spoiling key elements to the film. Suffice it to say that there are some real twist and turns along the way as well as some thrills and action that keep things moving along nicely as the film makes its way towards the conclusion. But, yes, Prometheus does have a very clear connection to the Alien films.
Scott had said that he wanted to do something epic in scale and in that he has, for the most part, succeeded. Shot using the latest 3-D technology, the film is amazing to watch. The opening sequence, as well as some footage of the ship in-flight, are truly gorgeous to look at and the amazing attention to detail not only on the alien world but on the ship itself is truly spectacular.
Early in the film, the android David (Michael Fassbender) is seen going through his various routines on the ship as the crew sleeps in suspended animation. His various activities range from monitoring the crew and their dreams, to watching old movies and studying ancient languages and keeping an eye on the ship systems. All that seems fairly routine, but it is his skill with a basketball that was fascinating and establishes the complex and dynamic character that he portrays.
This introduction underscores the diversity of the crew. We are given bits and pieces about all of them to help them stand out from the usual stock characters in this type of film. While we are not given as complete a background set up as I would’ve liked, little touches such as Capt. Janik (Idris Elba), insisting upon celebrating Christmas as well as the crew running side bets, help to underscore that these are people we can easily relate to, just doing their job in extraordinary situations. This was something that Scott mastered in the original Alien, giving you average Joe’s who had to deal with extraterrestrial horror.
I mention this because Prometheus is not an action film, nor is it a horror film. I wonder if perhaps this film had not had the production costs that it does, if it would be better suited for fall release. I say this not as a criticism of the movie, simply to emphasize the fact this is a movie that requires thought, something your typical summer blockbuster doesn’t. Scott does not lay it out on a plate for the audience and say “Here it is, take it.” He presents a story filled with questions, and instead of giving you answers, gives you even more questions as the film goes along.
At first, this was more than a bit frustrating as I wanted answers to questions I’ve had since seeing the original Alien back in 1979. I wanted to know more about some of the plot lines and characters as well as certain situations that were in the film. At one point the captain shares some very important information. I asked myself how this piece of news was arrived at, as certainly a discovery of this magnitude would have been a very interesting scene. However much like the film’s premise, faith is an underlying and key component. Just as the characters discuss and act based on faith, or lack thereof, audience members asked to have faith in the storyline and the sequence of events that lead up to the finale. There will be those who will be unwilling to do so and will be quick to find fault with the film, cast, and plot. But I hope there will be more who accept that they are seeing the first part of a larger journey and understand that there are things that they are meant to know, as well as things hey are not meant to know and in time more may be revealed.
Scott has indicated that he would like to do another film in the series and scuttlebutt indicates the studio would very much like to entertain thoughts of a trilogy. I would certainly like to see this, as would a few of my fellow critics. Following our screening, three of us stood around discussing aspects of the film, trying to figure out what it really meant and how it connected to the Alien series as well as potential future films in the series. If nothing else, this movie will spark interesting conversation.
As the days have passed since seeing the film I’ve appreciated it more and more with each passing day. Scott could have taken the easy way out and given a straight up prequel to Alien complete with all manner of monsters and CGI creatures on the loose wrecking havoc upon a crew of unfortunate victims. Instead he opted to take a much larger look at life, the universe, and our place in it and wove a complex and open-ended framework that not only provided fantastic entertainment but also provided an opportunity for intelligent conversation and introspection.
From the incredible visuals to the engaging and enjoyable cast, Prometheus is a refreshing and enjoyable film and an extremely welcome and much-needed addition to the alien franchise.
The film follows the story of Dr. Elizabeth Shaw (Noomi Rapace), who in the late 21st century makes a startling discovery with her boyfriend Charlie Halloway (Logan Marshall-Green). Their discovery leads to an extremely expensive expedition to an unknown area of space aboard the state-of-the-art research vessel Prometheus. The eclectic but talented crew of experts along for the ride are under the stern watch of Meredith Vickers (Charlize Theron), who has been appointed by the Weyland Corporation to oversee the expedition even though she is highly skeptical about the expected goals that set the crew on the journey.
Holloway and Shaw believe that a series of paintings they discovered at several archaeological sites throughout the world indicated that ancient man had been visited and guided by beings from beyond the stars and that said beings may very well be responsible for engineering humanity as well.
After a journey of nearly 2.5 years the crew arrives at the star system depicted in the paintings and soon find themselves exploring a temple-like structure on an otherwise desolate and apparently lifeless moon. Despite the misgivings of the crew, when the true nature of their expedition is revealed upon their arrival, Shaw and Holloway are vindicated when remains of alien life forms and other technology are discovered by the crew.
Their initial exploration cut short due to a violent storm, the crew returns the safety of the ship to wait out the storm, save for two members of the team who remained at the temple after becoming lost. A series of events follow which soon indicate that not only are there hidden agendas at play but that the crew has stumbled upon a discovery that they are ill-prepared for.
Bizarre and horrific revelations and events follow which cause the crew members to question their motivations and the expedition’s purpose as well as examine their place in a much more complex and dangerous universe, where their petty human concerns and conflicts now seem much more insignificant.
It would be very difficult to go into further detail with spoiling key elements to the film. Suffice it to say that there are some real twist and turns along the way as well as some thrills and action that keep things moving along nicely as the film makes its way towards the conclusion. But, yes, Prometheus does have a very clear connection to the Alien films.
Scott had said that he wanted to do something epic in scale and in that he has, for the most part, succeeded. Shot using the latest 3-D technology, the film is amazing to watch. The opening sequence, as well as some footage of the ship in-flight, are truly gorgeous to look at and the amazing attention to detail not only on the alien world but on the ship itself is truly spectacular.
Early in the film, the android David (Michael Fassbender) is seen going through his various routines on the ship as the crew sleeps in suspended animation. His various activities range from monitoring the crew and their dreams, to watching old movies and studying ancient languages and keeping an eye on the ship systems. All that seems fairly routine, but it is his skill with a basketball that was fascinating and establishes the complex and dynamic character that he portrays.
This introduction underscores the diversity of the crew. We are given bits and pieces about all of them to help them stand out from the usual stock characters in this type of film. While we are not given as complete a background set up as I would’ve liked, little touches such as Capt. Janik (Idris Elba), insisting upon celebrating Christmas as well as the crew running side bets, help to underscore that these are people we can easily relate to, just doing their job in extraordinary situations. This was something that Scott mastered in the original Alien, giving you average Joe’s who had to deal with extraterrestrial horror.
I mention this because Prometheus is not an action film, nor is it a horror film. I wonder if perhaps this film had not had the production costs that it does, if it would be better suited for fall release. I say this not as a criticism of the movie, simply to emphasize the fact this is a movie that requires thought, something your typical summer blockbuster doesn’t. Scott does not lay it out on a plate for the audience and say “Here it is, take it.” He presents a story filled with questions, and instead of giving you answers, gives you even more questions as the film goes along.
At first, this was more than a bit frustrating as I wanted answers to questions I’ve had since seeing the original Alien back in 1979. I wanted to know more about some of the plot lines and characters as well as certain situations that were in the film. At one point the captain shares some very important information. I asked myself how this piece of news was arrived at, as certainly a discovery of this magnitude would have been a very interesting scene. However much like the film’s premise, faith is an underlying and key component. Just as the characters discuss and act based on faith, or lack thereof, audience members asked to have faith in the storyline and the sequence of events that lead up to the finale. There will be those who will be unwilling to do so and will be quick to find fault with the film, cast, and plot. But I hope there will be more who accept that they are seeing the first part of a larger journey and understand that there are things that they are meant to know, as well as things hey are not meant to know and in time more may be revealed.
Scott has indicated that he would like to do another film in the series and scuttlebutt indicates the studio would very much like to entertain thoughts of a trilogy. I would certainly like to see this, as would a few of my fellow critics. Following our screening, three of us stood around discussing aspects of the film, trying to figure out what it really meant and how it connected to the Alien series as well as potential future films in the series. If nothing else, this movie will spark interesting conversation.
As the days have passed since seeing the film I’ve appreciated it more and more with each passing day. Scott could have taken the easy way out and given a straight up prequel to Alien complete with all manner of monsters and CGI creatures on the loose wrecking havoc upon a crew of unfortunate victims. Instead he opted to take a much larger look at life, the universe, and our place in it and wove a complex and open-ended framework that not only provided fantastic entertainment but also provided an opportunity for intelligent conversation and introspection.
From the incredible visuals to the engaging and enjoyable cast, Prometheus is a refreshing and enjoyable film and an extremely welcome and much-needed addition to the alien franchise.
graveyardgremlin (7194 KP) rated Vixen (Flappers, #1) in Books
Feb 15, 2019
<i>3.75 stars</i>
<b><i>Once upon a time there were three beautiful girls who went to the best schools (and speakeasies), and they were each assigned booze and clothes that are the cat's meow. But the flapper lifestyle took them into different directions and now they work to find out who they are and what makes them truly happy. My name is Vixen.</i></b>
And so you've been introduced to the first installment of The Flappers series Charlie's Angels' style (the best I was able to come up with anyway).
<b>Meet our <s>Angels</s> Vixens:</b>
<u><i>Gloria</i></u> - She's the one who has it all: <i>the</i> name, riches, looks, clothes, a handsome fiancee, everything comes easily to her, and everybody seemingly loves her. But this poor little rich girl isn't so happy after all and so she begins to rebel.
<u><i>Clara</i></u> - Burned by her former flapper lifestyle, she's now trying to start over as "Country Clara" without her sordid past coming to light. So has she turned into a goody-two shoes or is it just part of a grander scheme? Only time will tell.
<u><i>Lorraine</i></u> - Jealous of best friend, Gloria, she's desperate to step out of Glo's shadow to become the center of attention as an individual.
<b>Before getting to my review, there are a few questions that should be addressed:</b>
Is this great literature? <i>No.</i>
Will this book change your life? <i>No.</i>
Will you learn anything from reading this book? <i>No. Well, maybe some twenties' slang.</i>
Is this book accurate to the period? <i>No, there are some liberties, but it's good enough as wallpaper to the players and scenes.</i>
Is this book entertaining beyond belief? <i>A resounding YES!</i>
VIXEN is very easy to read and captured my attention from the first page, and while it may not be the best book ever, I had a lot of fun reading it. While there's nothing glaringly obvious anachronism-wise, I did question some word choices, phrases, and actions, but overall they were easy to overlook and I likened it to watching A Knight's Tale starring Heath Ledger. Written in third-person, each chapter focuses on one the three girls' point-of-view, starting with Gloria and continuing with Clara and then Lorraine, throughout the book until the end.
As for the characters, Clara (named after Ms. Clara Bow?) was definitely my favorite to read about, she's recovering from the aftereffects of her life in New York City (which includes a boy, of course), and is trying her best to leave the past behind and move on with her life. Her story had a lot to offer and she felt like a real person who had made mistakes and was now left dealing with the repercussions. Lorraine was a trainwreck you can't take your eyes off of, and while I can't say I liked her, I felt sorry for her. She tries way too hard to stand out and ends up making herself look pathetic; if she keeps it up she'll turn into a very ugly person whom everyone hates. Forget Gloria, Lorraine is the "real" poor little rich girl of the book. She's in the middle of making all the wrong decisions and we're along for the journey, which made her multidimensional and interesting to read about as well. Gloria was my least favorite, mainly because I don't think the author knew quite how to write her. At one moment Gloria seemed like a good girl rebelling, but then there would be moments where she was a real bitch and those two aspects just didn't gel into a cohesive whole. Now if she was seemingly sweet on the outside and really was a conniving bitch underneath, then I'd be on board or at least would get it. But she wasn't that type of bitch and she wasn't Alexis Carrington-bitchy (or insert less-dated reference here) either. How she was written made her look more like Sybil and didn't render me to sympathize with her at all. It didn't help that I felt she was too close to a Mary-Sue for my liking. I don't like perfect or near-perfect characters, they're boring and so was she. What was her motivation for anything, such as singing? Was that always a dream or did it just now come about? Is her recent behavior only happening because she's unhappy? Sorry, but there's just not enough there to make me care about this character. Gloria needed to be more fleshed out to make her feel like a real human, with real thoughts in her head and real feelings, and not a cliched cardboard cut-out.
The love aspects of the novel were fairly glossed over, mainly Gloria and Jerome's story, and felt more like teenage hormones than actual real love.
<i>"I don't know you but you're hot and I love you."
"Nothing will keep us apart!"
"We'll be together forever!"</i>
Which is too bad because I like the idea of an interracial romance taking place in the 1920's, it could have been fantastic, but instead was tepid and generally unromantic. It didn't help that half the duo was boring old Gloria and the other half never developed beyond the fact that he's a black musician who's forbidden to her due to the color of his skin. I wished for more impact and still hope for that in the next installment of the series. Clara's budding relationship with Marcus was far more realistic because they actually had conversations *gasp* and was well-paced. The relationships between the girls were touch and go, sometimes they felt authentic, then at other times interactions appeared too advanced to where the relationship had last left off; it was like there were scenes edited out in chunks. The same could be said of the developing romance between Gloria and Jerome.
So a few things bothered me in the book, such as the issue I had with every girl who wasn't one of the main trio being cattily described, i.e. eyes are close together, that color makes her look sallow, etc. Can we get over doing that already? That's not encouraging good behavior. A little more positivity would be a refreshing change. Another thing that annoyed me was at one point, the crap hit the fan and *minor spoiler* <spoiler>Gloria's career as a torch singer, which she's naturally perfect at (of course), came out into the open. So who does she immediately blame? Her best friend, Lorraine of course, whom she slaps! And who to this point Gloria had no provocation to even think it'd be her who had spilled the beans. Lorraine had not done anything to deserve Gloria's wrath, or at least nothing she knew about yet, so I don't know if the author had forgotten that fact or what. It did not make any kind of sense because there were other people who knew what Gloria was up to and others who could have easily found out. To me it was sloppy writing. What kind of friend does that make Gloria anyway? Not one I'd like, who always thinks the worst of her best friend without any miniscule proof of guilt. Told ya she was a bitch</spoiler>. There were some minor editing inaccuracies, such as when Gloria's dress goes from gold sequined to red in less than a page (pages 74-5) but nothing too overt to jar me out of the book altogether. Lastly, perhaps there was a bit too much twenties' slang that wasn't always incorporated into the text as smoothly as possible.
Overall, the plots were well-done and moved along at a brisk enough pace that I never got bored. The ending unfolded so that it tied up the multiple plotlines while still keeping plenty of loose ends for the sequel. So, a lot of the book is superficial, in some cases there are caricatures instead of characters, and it is a shallow interpretation of the Roaring Twenties, I don't care, the book is just plain fun and sometimes that's all I need. And while I can't say I loved this book and it totally lived up to its beautiful cover (seriously that dress is gorgeous, though I could do without the pit shot), I was suitably entertained and will read the sequels to find out what happens next, while I keep up the hope that Gloria will turn into a real, live girl.
<b><i>Once upon a time there were three beautiful girls who went to the best schools (and speakeasies), and they were each assigned booze and clothes that are the cat's meow. But the flapper lifestyle took them into different directions and now they work to find out who they are and what makes them truly happy. My name is Vixen.</i></b>
And so you've been introduced to the first installment of The Flappers series Charlie's Angels' style (the best I was able to come up with anyway).
<b>Meet our <s>Angels</s> Vixens:</b>
<u><i>Gloria</i></u> - She's the one who has it all: <i>the</i> name, riches, looks, clothes, a handsome fiancee, everything comes easily to her, and everybody seemingly loves her. But this poor little rich girl isn't so happy after all and so she begins to rebel.
<u><i>Clara</i></u> - Burned by her former flapper lifestyle, she's now trying to start over as "Country Clara" without her sordid past coming to light. So has she turned into a goody-two shoes or is it just part of a grander scheme? Only time will tell.
<u><i>Lorraine</i></u> - Jealous of best friend, Gloria, she's desperate to step out of Glo's shadow to become the center of attention as an individual.
<b>Before getting to my review, there are a few questions that should be addressed:</b>
Is this great literature? <i>No.</i>
Will this book change your life? <i>No.</i>
Will you learn anything from reading this book? <i>No. Well, maybe some twenties' slang.</i>
Is this book accurate to the period? <i>No, there are some liberties, but it's good enough as wallpaper to the players and scenes.</i>
Is this book entertaining beyond belief? <i>A resounding YES!</i>
VIXEN is very easy to read and captured my attention from the first page, and while it may not be the best book ever, I had a lot of fun reading it. While there's nothing glaringly obvious anachronism-wise, I did question some word choices, phrases, and actions, but overall they were easy to overlook and I likened it to watching A Knight's Tale starring Heath Ledger. Written in third-person, each chapter focuses on one the three girls' point-of-view, starting with Gloria and continuing with Clara and then Lorraine, throughout the book until the end.
As for the characters, Clara (named after Ms. Clara Bow?) was definitely my favorite to read about, she's recovering from the aftereffects of her life in New York City (which includes a boy, of course), and is trying her best to leave the past behind and move on with her life. Her story had a lot to offer and she felt like a real person who had made mistakes and was now left dealing with the repercussions. Lorraine was a trainwreck you can't take your eyes off of, and while I can't say I liked her, I felt sorry for her. She tries way too hard to stand out and ends up making herself look pathetic; if she keeps it up she'll turn into a very ugly person whom everyone hates. Forget Gloria, Lorraine is the "real" poor little rich girl of the book. She's in the middle of making all the wrong decisions and we're along for the journey, which made her multidimensional and interesting to read about as well. Gloria was my least favorite, mainly because I don't think the author knew quite how to write her. At one moment Gloria seemed like a good girl rebelling, but then there would be moments where she was a real bitch and those two aspects just didn't gel into a cohesive whole. Now if she was seemingly sweet on the outside and really was a conniving bitch underneath, then I'd be on board or at least would get it. But she wasn't that type of bitch and she wasn't Alexis Carrington-bitchy (or insert less-dated reference here) either. How she was written made her look more like Sybil and didn't render me to sympathize with her at all. It didn't help that I felt she was too close to a Mary-Sue for my liking. I don't like perfect or near-perfect characters, they're boring and so was she. What was her motivation for anything, such as singing? Was that always a dream or did it just now come about? Is her recent behavior only happening because she's unhappy? Sorry, but there's just not enough there to make me care about this character. Gloria needed to be more fleshed out to make her feel like a real human, with real thoughts in her head and real feelings, and not a cliched cardboard cut-out.
The love aspects of the novel were fairly glossed over, mainly Gloria and Jerome's story, and felt more like teenage hormones than actual real love.
<i>"I don't know you but you're hot and I love you."
"Nothing will keep us apart!"
"We'll be together forever!"</i>
Which is too bad because I like the idea of an interracial romance taking place in the 1920's, it could have been fantastic, but instead was tepid and generally unromantic. It didn't help that half the duo was boring old Gloria and the other half never developed beyond the fact that he's a black musician who's forbidden to her due to the color of his skin. I wished for more impact and still hope for that in the next installment of the series. Clara's budding relationship with Marcus was far more realistic because they actually had conversations *gasp* and was well-paced. The relationships between the girls were touch and go, sometimes they felt authentic, then at other times interactions appeared too advanced to where the relationship had last left off; it was like there were scenes edited out in chunks. The same could be said of the developing romance between Gloria and Jerome.
So a few things bothered me in the book, such as the issue I had with every girl who wasn't one of the main trio being cattily described, i.e. eyes are close together, that color makes her look sallow, etc. Can we get over doing that already? That's not encouraging good behavior. A little more positivity would be a refreshing change. Another thing that annoyed me was at one point, the crap hit the fan and *minor spoiler* <spoiler>Gloria's career as a torch singer, which she's naturally perfect at (of course), came out into the open. So who does she immediately blame? Her best friend, Lorraine of course, whom she slaps! And who to this point Gloria had no provocation to even think it'd be her who had spilled the beans. Lorraine had not done anything to deserve Gloria's wrath, or at least nothing she knew about yet, so I don't know if the author had forgotten that fact or what. It did not make any kind of sense because there were other people who knew what Gloria was up to and others who could have easily found out. To me it was sloppy writing. What kind of friend does that make Gloria anyway? Not one I'd like, who always thinks the worst of her best friend without any miniscule proof of guilt. Told ya she was a bitch</spoiler>. There were some minor editing inaccuracies, such as when Gloria's dress goes from gold sequined to red in less than a page (pages 74-5) but nothing too overt to jar me out of the book altogether. Lastly, perhaps there was a bit too much twenties' slang that wasn't always incorporated into the text as smoothly as possible.
Overall, the plots were well-done and moved along at a brisk enough pace that I never got bored. The ending unfolded so that it tied up the multiple plotlines while still keeping plenty of loose ends for the sequel. So, a lot of the book is superficial, in some cases there are caricatures instead of characters, and it is a shallow interpretation of the Roaring Twenties, I don't care, the book is just plain fun and sometimes that's all I need. And while I can't say I loved this book and it totally lived up to its beautiful cover (seriously that dress is gorgeous, though I could do without the pit shot), I was suitably entertained and will read the sequels to find out what happens next, while I keep up the hope that Gloria will turn into a real, live girl.
James P. Sumner (65 KP) rated Star Wars: Episode VII - The Force Awakens (2015) in Movies
Jun 5, 2019
The Force is strong in this one...
Like so many of us, I had theorised what would happen in this movie based on the influx of teaser trailers online, and I'm happy to say, I was wrong on nearly everything! I like being surprised, and this film was just that. A very pleasant surprise. It's Star Wars, like Star Wars should be. Not too heavy on the CGI, plenty of action interlaced with character-driven dialogue and sub-plots, and yes, someone says "I have a bad feeling about this..." which is just ace!
So, the story. (No spoilers here, promise!) We join the action some 30 years after partying with the Ewoks on Endor. The Empire is no more, yet, like an evil phoenix, The First Order has risen from its ashes and is doing much the same thing—being awful to everyone and trying to rule the galaxy. Same old, same old.
There are plenty of new faces—the three main ones effectively being modern-day retellings of our old favourites. First up is Oscar Isaac's excellent Poe Dameron, who is this year's Han Solo. A hot-shot rebel fighter pilot, with rogue-ish good looks, a cheeky grin, and wise-cracking dialogue.
Then, we have the Stormtrooper with a conscience, played by John Boyega. A really good performance by him, and despite his character’s beginnings, it doesn't take long for you to genuinely care what happens to him. He's this year's Luke Skywalker, definitely.
And finally, there's the mysterious Rey, the tough-as-nails tomboy who's hotter than you first realise, brought to life by the uber-talented, destined-for-great-things, Daisy Ridley. Not much is known about who she is, but she's this year's Princess Leia, without a doubt.
And that was the first thing that really struck a chord with me—how the film acknowledges the original characters, but gives them a twist for the newer, younger audience. The comparisons are immediate and obvious, but they work. Instead of the kick-ass princess, you have the hard-done-by street kid... instead of the teenager dreaming of escaping his dead-end life, you have one who struggles to accept he's not meant for the exciting one he has. Kids today will relate to these things, yet the film manages to keep the essence of what made the main characters from the classic films so memorable.
We also have the new lovable droid, BB-8, who, like R2-D2 so many years ago, unwittingly finds itself with a garbled message in its memory banks, and in the possession of one of our heroes.
In much the same way that Episode IV didn’t hang about getting Darth Vader on the screen, it's not long before we're treated to our first look at the big bad—Kylo Ren. Let's run through the checklist:
• Looks cool wearing black? Check.
• Masked, with scary voice? Check.
• Mean? Check.
So, Mr. Ren starts out doing everything we would expect, which is nice. We know he's working with The First Order, we know he's looking for something... so far, so Star Wars.
The film moves along at a good pace. Plenty of action and fighting, slowed down by great interaction between the main cast where needed. Then we start getting drip-fed the old-timers, which is where the fanboy in you will get really excited. We first get a look of Han Solo and Chewbacca, which we already knew from the trailers, when Han says, "Chewy, we're home." Harrison Ford steps back into the role like putting on an old pair of shoes—a little awkward at first, but you soon remember how comfortable they are, and you're off and running in no time. It's almost like he's not played any other part since 1983 (and after Indiana Jones and the Kingdom of the Crystal Skull, I bet sometimes Mr. Ford wishes that were the case!). Accompanied by his long-time friend, he effortlessly goes through the motions as the scoundrel looking to make some money, but always ending up owing someone more than he has.
It's not long before a twist of fate puts him and Chewy alongside our new heroes, and they're on their way to see another familiar face, Princess Leia. Except she's not a Princess anymore, she's the General of the Resistance. I won't say too much about her, as her parts in the film are integral to the main storyline, and I don't want to ruin it. Suffice to say, like any couple reuniting after 30 years, her and Han are a joy to watch on screen together.
I don't want to delve into the storyline too much, because a) you've probably pieced together the gist of it from all the trailers, and b) it's hard to do without telling you things you won't know if you haven't already seen it. So I'll leave it there, but will finish by saying it's a pleasure from start to finish, it cues up the inevitable sequels well, and it does nothing more than what it should do—it gives you a Star Wars experience that leaves you wanting to watch it again the moment it finishes.
So, the downsides. There aren't many, but, for me, there are some. They don't take away from the movie as a whole, but they detracted from the experience enough to make them worth mentioning, so here goes.
Princess/General Leia - I'm sorry, but poor Carrie Fisher has had so much Botox, I genuinely thought it was a different actress when she first appeared on camera. We see her go through an emotional reunion, some heartache, some humorous banter, some thrilling, edge-of-the-seat action, and a nail-biting, jaw-dropping finale... and not once did her expression change! Probably because it couldn't. She's the only one who looked like they were struggling to revive their character, because she didn't look like a natural, older version of herself… she looked like she was trying to be a younger version of herself, and it made me not want to see her as much as other characters.
Kylo Ren - This guy starts out as being awesome. His mask is suitably evil, his voice is menacing, his lightsabre is just brilliant… But then he takes his mask off. He's doing something (which I won't detail, but is another obvious and much-appreciated nod to the film's predecessors) and he just takes off his mask. Now, no disrespect to Adam Driver, but... have you seen Harry Potter? Well, Kylo Ren, without his mask, kinda looks like he's related in some distant, in-bred way, to Neville Longbottom. He continues with his evil gestures and scary intentions, but without the mask, you just kinda think... Really? Am I meant to be scared here? When I was a kid, Darth Vader terrified the hell out of me! This guy... you could probably flush his head and steal his lunch money, if he doesn't force-choke you beforehand.
I think he’s another Hayden Christensen—horribly miscast for an important role that could’ve defined the right actor’s career. Let's hope it doesn't end up ruining it for him. Should've kept the mask on, Kylo!
Captain Phasma - The name might not mean much to casual fans, but I’m referring to the chrome Stormtrooper who has inexplicably developed somewhat of a cult following since their appearance in the trailers. They’re the tall, imposing, assumed leader of the Stormtroopers, and certainly looks the part. However, that part is so insignificant, it’s like it was written in as an after-thought. The character will apparently play a more significant role in later films, but that’s hardly the point. We first see him at the beginning, and they’re all evil and shooty, which is fine. But then we see him only a couple of times after that and, at one point, he’s taken hostage in possibly the most unimposing, least-threatening way imaginable, and he just goes along with it. What the hell?! Oh, and I say “He”, but the character is actually played by a woman—Gwendoline Christie, the tall, sword-wielding blonde from Game of Thrones. Anyway…
The final thing that annoyed me a little bit is tough to talk about, because it's riddled with spoilers. But I shall simply say this: the way a certain character (who I haven't mentioned previously) was handled could've been done so much better than it was. That's it. I'll say no more. Watch the film, then read this again. You'll know what I mean.
So, to sum up. This is a great addition to the franchise, no doubt. But, forgetting it's Star Wars for a moment, it's simply a great film. It provides everything you would want from this genre, and it leaves you wanting more at the end (with a clear indication it's going to provide it at some point in the future). Now go. Enjoy. Even if you don't like Star Wars, it's worth a watch. Though I'm pretty certain after seeing it, you'll want to watch the others.
So, the story. (No spoilers here, promise!) We join the action some 30 years after partying with the Ewoks on Endor. The Empire is no more, yet, like an evil phoenix, The First Order has risen from its ashes and is doing much the same thing—being awful to everyone and trying to rule the galaxy. Same old, same old.
There are plenty of new faces—the three main ones effectively being modern-day retellings of our old favourites. First up is Oscar Isaac's excellent Poe Dameron, who is this year's Han Solo. A hot-shot rebel fighter pilot, with rogue-ish good looks, a cheeky grin, and wise-cracking dialogue.
Then, we have the Stormtrooper with a conscience, played by John Boyega. A really good performance by him, and despite his character’s beginnings, it doesn't take long for you to genuinely care what happens to him. He's this year's Luke Skywalker, definitely.
And finally, there's the mysterious Rey, the tough-as-nails tomboy who's hotter than you first realise, brought to life by the uber-talented, destined-for-great-things, Daisy Ridley. Not much is known about who she is, but she's this year's Princess Leia, without a doubt.
And that was the first thing that really struck a chord with me—how the film acknowledges the original characters, but gives them a twist for the newer, younger audience. The comparisons are immediate and obvious, but they work. Instead of the kick-ass princess, you have the hard-done-by street kid... instead of the teenager dreaming of escaping his dead-end life, you have one who struggles to accept he's not meant for the exciting one he has. Kids today will relate to these things, yet the film manages to keep the essence of what made the main characters from the classic films so memorable.
We also have the new lovable droid, BB-8, who, like R2-D2 so many years ago, unwittingly finds itself with a garbled message in its memory banks, and in the possession of one of our heroes.
In much the same way that Episode IV didn’t hang about getting Darth Vader on the screen, it's not long before we're treated to our first look at the big bad—Kylo Ren. Let's run through the checklist:
• Looks cool wearing black? Check.
• Masked, with scary voice? Check.
• Mean? Check.
So, Mr. Ren starts out doing everything we would expect, which is nice. We know he's working with The First Order, we know he's looking for something... so far, so Star Wars.
The film moves along at a good pace. Plenty of action and fighting, slowed down by great interaction between the main cast where needed. Then we start getting drip-fed the old-timers, which is where the fanboy in you will get really excited. We first get a look of Han Solo and Chewbacca, which we already knew from the trailers, when Han says, "Chewy, we're home." Harrison Ford steps back into the role like putting on an old pair of shoes—a little awkward at first, but you soon remember how comfortable they are, and you're off and running in no time. It's almost like he's not played any other part since 1983 (and after Indiana Jones and the Kingdom of the Crystal Skull, I bet sometimes Mr. Ford wishes that were the case!). Accompanied by his long-time friend, he effortlessly goes through the motions as the scoundrel looking to make some money, but always ending up owing someone more than he has.
It's not long before a twist of fate puts him and Chewy alongside our new heroes, and they're on their way to see another familiar face, Princess Leia. Except she's not a Princess anymore, she's the General of the Resistance. I won't say too much about her, as her parts in the film are integral to the main storyline, and I don't want to ruin it. Suffice to say, like any couple reuniting after 30 years, her and Han are a joy to watch on screen together.
I don't want to delve into the storyline too much, because a) you've probably pieced together the gist of it from all the trailers, and b) it's hard to do without telling you things you won't know if you haven't already seen it. So I'll leave it there, but will finish by saying it's a pleasure from start to finish, it cues up the inevitable sequels well, and it does nothing more than what it should do—it gives you a Star Wars experience that leaves you wanting to watch it again the moment it finishes.
So, the downsides. There aren't many, but, for me, there are some. They don't take away from the movie as a whole, but they detracted from the experience enough to make them worth mentioning, so here goes.
Princess/General Leia - I'm sorry, but poor Carrie Fisher has had so much Botox, I genuinely thought it was a different actress when she first appeared on camera. We see her go through an emotional reunion, some heartache, some humorous banter, some thrilling, edge-of-the-seat action, and a nail-biting, jaw-dropping finale... and not once did her expression change! Probably because it couldn't. She's the only one who looked like they were struggling to revive their character, because she didn't look like a natural, older version of herself… she looked like she was trying to be a younger version of herself, and it made me not want to see her as much as other characters.
Kylo Ren - This guy starts out as being awesome. His mask is suitably evil, his voice is menacing, his lightsabre is just brilliant… But then he takes his mask off. He's doing something (which I won't detail, but is another obvious and much-appreciated nod to the film's predecessors) and he just takes off his mask. Now, no disrespect to Adam Driver, but... have you seen Harry Potter? Well, Kylo Ren, without his mask, kinda looks like he's related in some distant, in-bred way, to Neville Longbottom. He continues with his evil gestures and scary intentions, but without the mask, you just kinda think... Really? Am I meant to be scared here? When I was a kid, Darth Vader terrified the hell out of me! This guy... you could probably flush his head and steal his lunch money, if he doesn't force-choke you beforehand.
I think he’s another Hayden Christensen—horribly miscast for an important role that could’ve defined the right actor’s career. Let's hope it doesn't end up ruining it for him. Should've kept the mask on, Kylo!
Captain Phasma - The name might not mean much to casual fans, but I’m referring to the chrome Stormtrooper who has inexplicably developed somewhat of a cult following since their appearance in the trailers. They’re the tall, imposing, assumed leader of the Stormtroopers, and certainly looks the part. However, that part is so insignificant, it’s like it was written in as an after-thought. The character will apparently play a more significant role in later films, but that’s hardly the point. We first see him at the beginning, and they’re all evil and shooty, which is fine. But then we see him only a couple of times after that and, at one point, he’s taken hostage in possibly the most unimposing, least-threatening way imaginable, and he just goes along with it. What the hell?! Oh, and I say “He”, but the character is actually played by a woman—Gwendoline Christie, the tall, sword-wielding blonde from Game of Thrones. Anyway…
The final thing that annoyed me a little bit is tough to talk about, because it's riddled with spoilers. But I shall simply say this: the way a certain character (who I haven't mentioned previously) was handled could've been done so much better than it was. That's it. I'll say no more. Watch the film, then read this again. You'll know what I mean.
So, to sum up. This is a great addition to the franchise, no doubt. But, forgetting it's Star Wars for a moment, it's simply a great film. It provides everything you would want from this genre, and it leaves you wanting more at the end (with a clear indication it's going to provide it at some point in the future). Now go. Enjoy. Even if you don't like Star Wars, it's worth a watch. Though I'm pretty certain after seeing it, you'll want to watch the others.
Gareth von Kallenbach (968 KP) rated the PC version of Shadow Of The Tomb Raider in Video Games
Aug 14, 2019
It’s hard to believe that Lara Croft made her first appearance in a video game all the way back in 1996. Featuring cutting edge 3D polygon graphics and gameplay that would often be duplicated but never replicated, the game would go on to sell a whopping 7 million copies. Since that time there have been numerous sequels, culminating in a complete re-envisioning of the franchise in 2013. The new era of Lara Croft explores her origin story and how she ultimately became one of the toughest female characters to grace a PC or console screen.
Shadow of the Tomb Raider is the third installment in the reboot of the franchise. Lara is no longer a naïve, explorer in training, who struggles with the idea, much less the actual action, of killing a human being. The years have made her a more seasoned (and possibly more ruthless) tomb raider, and she has now blossomed into the badass character that she is known for. Her adventures will take her deep into Mexico and South America, where she is trying to stop the apocalypse that she had accidently set in motion when she acquired an ancient dagger. What follows is roughly a 12+ hour main story and several hours’ worth of side missions that help flesh out the story and the world around her. The best part is that the story has all the excitement and thrills you would get if you took an Indiana Jones movie and added some of the Mel Gibson drama Apocalypto, so buckle up and enjoy the ride.
Shadow of the Tomb Raider adds the social interaction that was largely missing in the previous installments. While there are still plenty of times when Lara will be out on her own, searching through ruins or trekking through the jungle, there are now several civilizations that Lara will be interacting with. Her adventures will take her to the ancient city of Paititi, where most of her interactions will be with the locals and the main antagonists to the trilogy, Trinity. It’s in the interactions where we really get to see Lara question not only her beliefs but also her actions when acquiring ancient artifacts. Many of the discussions revolve around what will happen if outsiders come and try to change their standard of living or force their own wills on the natives. These discussions cause Lara to reevaluate what she does for a living, and how her own actions have an impact far greater than she even realizes. The inclusion of so much interaction with other people brings a whole new dimension to the Tomb Raider world and it entrenches you in the story in a way that battling even the most dangerous tombs never could.
One of the most interesting levels in the game takes you back in time to when Lara was just a young girl. You get the opportunity to experience the world through the innocence of a child, and her own imagination as she explores her father’s mansion. It provides an interesting look into the events that would unfold during her impressionable years, and also helps to offer some additional insight into what drives her as an adult. It’s in this level, where you finally understand what fuels her desire and continues to push her forward.
Gameplay is largely the same as the previous titles, but they did add a few new interesting ways to traverse some of the more difficult terrain, such as the ability to rappel down cliffs or using a pick axe to traverse cave ceilings. Climbing, jumping and swinging are all handled very intuitively using the controller. Yes, there were times where I felt I was doing the right thing and fell to my death anyway, but at no time did I feel overly frustrated or blame the tight controls for my own missteps.
Swimming and diving play a far bigger role in Shadow than in the previous games. Long, deep caverns will require you to swim and find pockets of air to keep from drowning. There are even a few sequences where you will need to swim through plants to avoid the various eels and piranha that will kill you, and swimming through the plants is just as easy as it sounds. Thankfully I never felt these sequences played on for too long and they certainly added diversity to the levels. While generally swimming and diving in video games tend to be an exercise in frustration, I never felt that was the case here.
Stealth also plays a bigger role in this game and adds another key to your survival. The original 1996 game focused on your dual pistol wielding abilities to get you out of jams and in this game, you are rewarded with a subtler approach. Taking a nod from games such as Horizon Zero Dawn, you will now have plenty of opportunities for Lara to crouch in large grassy fields or cover herself in mud and hide amongst the vines and cliff walls to surprise and take down her enemies. You can now overcome many adversities utilizing only stealth, but don’t worry, if you prefer more upfront action, there are still the obligatory pistols, shotguns and machine guns you can use to dispatch foes. Stealth is just an added way to ensure that Lara saves her bullets for far bigger threats down the road.
Now for everyone’s favorite part…the tombs! What would Tomb Raider be without tombs and the challenges that come along with them? As you may have already guessed, all sorts of puzzles and booby traps await you on your journey. I found they kept a nice balance between challenging and entertaining and thankfully none of them were so obscure that you need to break out Google to overcome them. Another great addition to the game is that the player can now individually adjust the difficulty on puzzles and on combat. That means if you love combat but not the puzzles you can adjust them independently, which is something I wish far more games would take advantage of. Either way, there are plenty of challenging tombs where you can flex your tomb raiding muscles.
As your adventure progresses you will earn skill points that allow you to upgrade Lara with new abilities. There are three skill trees, each containing many different skills, where Lara can spend her points. The three trees are broken down into Seeker, Warrior and Scavenger and Lara can be upgraded when she arrives at a basecamp. A few of these upgraded skills are longer swim times, multiple stealth takedowns, and the ability to shoot two enemies simultaneously. It’s always exciting to upgrade your character and see how the gameplay changes with new your abilities. This game is no exception and the upgrades you choose can really enhance your experience.
Graphically, Lara has never looked better. I played the game on my Xbox One X in 4K and the environments were awe inspiring. The lush jungle almost jumps off the screen and the character models are some of the best I’ve seen in recent memory. Of course, all this beauty wouldn’t mean much if there were stutters and lags and thankfully I never noticed a single frame drop while playing the game in all its 4K glory. Shadow of the Tomb Raider feels like you are part of a high budget, summer blockbuster and at times it was difficult to determine the difference between a cutscene or live game play (in a “wow, this is incredible!” way). The acting was also top notch and Camilla Luddington once again does an outstanding job delivering her lines, even making some of the corniest statements endearing. Every aspect of this game is the best of the best and you will be hard pressed to find an area of the game that was lacking.
Shadow of the Tomb Raider in an amazing accomplishment and easily my favorite game of the series. I’d even go as far as saying that I enjoyed it more than Uncharted 2, which is a true testament to how much I loved this game. Not only does the story have a heart and completely engages the player but it’s thrilling and there is non-stop adventure until the very end. While this certainly could be the last game in the rebooted series, I truly hope it’s not as I already want to play another. I highly recommend picking this game up. As soon as you knock over your first pot, you will be happy that you did!
What I liked: Stunning graphics, Incredible voice acting, Blockbuster feel
What I liked less: Occasional areas where it was unclear where to go next
Shadow of the Tomb Raider is the third installment in the reboot of the franchise. Lara is no longer a naïve, explorer in training, who struggles with the idea, much less the actual action, of killing a human being. The years have made her a more seasoned (and possibly more ruthless) tomb raider, and she has now blossomed into the badass character that she is known for. Her adventures will take her deep into Mexico and South America, where she is trying to stop the apocalypse that she had accidently set in motion when she acquired an ancient dagger. What follows is roughly a 12+ hour main story and several hours’ worth of side missions that help flesh out the story and the world around her. The best part is that the story has all the excitement and thrills you would get if you took an Indiana Jones movie and added some of the Mel Gibson drama Apocalypto, so buckle up and enjoy the ride.
Shadow of the Tomb Raider adds the social interaction that was largely missing in the previous installments. While there are still plenty of times when Lara will be out on her own, searching through ruins or trekking through the jungle, there are now several civilizations that Lara will be interacting with. Her adventures will take her to the ancient city of Paititi, where most of her interactions will be with the locals and the main antagonists to the trilogy, Trinity. It’s in the interactions where we really get to see Lara question not only her beliefs but also her actions when acquiring ancient artifacts. Many of the discussions revolve around what will happen if outsiders come and try to change their standard of living or force their own wills on the natives. These discussions cause Lara to reevaluate what she does for a living, and how her own actions have an impact far greater than she even realizes. The inclusion of so much interaction with other people brings a whole new dimension to the Tomb Raider world and it entrenches you in the story in a way that battling even the most dangerous tombs never could.
One of the most interesting levels in the game takes you back in time to when Lara was just a young girl. You get the opportunity to experience the world through the innocence of a child, and her own imagination as she explores her father’s mansion. It provides an interesting look into the events that would unfold during her impressionable years, and also helps to offer some additional insight into what drives her as an adult. It’s in this level, where you finally understand what fuels her desire and continues to push her forward.
Gameplay is largely the same as the previous titles, but they did add a few new interesting ways to traverse some of the more difficult terrain, such as the ability to rappel down cliffs or using a pick axe to traverse cave ceilings. Climbing, jumping and swinging are all handled very intuitively using the controller. Yes, there were times where I felt I was doing the right thing and fell to my death anyway, but at no time did I feel overly frustrated or blame the tight controls for my own missteps.
Swimming and diving play a far bigger role in Shadow than in the previous games. Long, deep caverns will require you to swim and find pockets of air to keep from drowning. There are even a few sequences where you will need to swim through plants to avoid the various eels and piranha that will kill you, and swimming through the plants is just as easy as it sounds. Thankfully I never felt these sequences played on for too long and they certainly added diversity to the levels. While generally swimming and diving in video games tend to be an exercise in frustration, I never felt that was the case here.
Stealth also plays a bigger role in this game and adds another key to your survival. The original 1996 game focused on your dual pistol wielding abilities to get you out of jams and in this game, you are rewarded with a subtler approach. Taking a nod from games such as Horizon Zero Dawn, you will now have plenty of opportunities for Lara to crouch in large grassy fields or cover herself in mud and hide amongst the vines and cliff walls to surprise and take down her enemies. You can now overcome many adversities utilizing only stealth, but don’t worry, if you prefer more upfront action, there are still the obligatory pistols, shotguns and machine guns you can use to dispatch foes. Stealth is just an added way to ensure that Lara saves her bullets for far bigger threats down the road.
Now for everyone’s favorite part…the tombs! What would Tomb Raider be without tombs and the challenges that come along with them? As you may have already guessed, all sorts of puzzles and booby traps await you on your journey. I found they kept a nice balance between challenging and entertaining and thankfully none of them were so obscure that you need to break out Google to overcome them. Another great addition to the game is that the player can now individually adjust the difficulty on puzzles and on combat. That means if you love combat but not the puzzles you can adjust them independently, which is something I wish far more games would take advantage of. Either way, there are plenty of challenging tombs where you can flex your tomb raiding muscles.
As your adventure progresses you will earn skill points that allow you to upgrade Lara with new abilities. There are three skill trees, each containing many different skills, where Lara can spend her points. The three trees are broken down into Seeker, Warrior and Scavenger and Lara can be upgraded when she arrives at a basecamp. A few of these upgraded skills are longer swim times, multiple stealth takedowns, and the ability to shoot two enemies simultaneously. It’s always exciting to upgrade your character and see how the gameplay changes with new your abilities. This game is no exception and the upgrades you choose can really enhance your experience.
Graphically, Lara has never looked better. I played the game on my Xbox One X in 4K and the environments were awe inspiring. The lush jungle almost jumps off the screen and the character models are some of the best I’ve seen in recent memory. Of course, all this beauty wouldn’t mean much if there were stutters and lags and thankfully I never noticed a single frame drop while playing the game in all its 4K glory. Shadow of the Tomb Raider feels like you are part of a high budget, summer blockbuster and at times it was difficult to determine the difference between a cutscene or live game play (in a “wow, this is incredible!” way). The acting was also top notch and Camilla Luddington once again does an outstanding job delivering her lines, even making some of the corniest statements endearing. Every aspect of this game is the best of the best and you will be hard pressed to find an area of the game that was lacking.
Shadow of the Tomb Raider in an amazing accomplishment and easily my favorite game of the series. I’d even go as far as saying that I enjoyed it more than Uncharted 2, which is a true testament to how much I loved this game. Not only does the story have a heart and completely engages the player but it’s thrilling and there is non-stop adventure until the very end. While this certainly could be the last game in the rebooted series, I truly hope it’s not as I already want to play another. I highly recommend picking this game up. As soon as you knock over your first pot, you will be happy that you did!
What I liked: Stunning graphics, Incredible voice acting, Blockbuster feel
What I liked less: Occasional areas where it was unclear where to go next
Ryan Hill (152 KP) rated Man of Steel (2013) in Movies
May 21, 2019
"It's not an s on my world it means hope"
Superman's origin has been retold in comics more than any other character. But how do you reboot such a beloved icon in film form without making his origin feel unnecessary to go through again. By handing him over to the masters of all reboots. While developing the story for The Dark Knight Rises, Director Christopher Nolan and writer David S. Goyer developed a new way to bring the man of steel to life. The duo previously saved Batman and made him a cinematic legend again and now they plan to save Superman from uneven sequels and a stale image. And who did they invite to lead this revival? None other than director Zack Snyder, a visual wizard with a lackluster reputation in storytelling thanks to his remake of Dawn of the Dead, 300, Watchmen and Sucker Punch. Now despite some filmmaking stumbles along the way, the trio make for a surprisingly great combination and deliver the modern Superman film we have waited 75 years for with Man of Steel. We are given both Superman and a Clark Kent who doesn't know his place in the world and is coming to terms with how the public perceives him.
As with all Superman mythology the story begins on Krypton, the planet that's hundreds of thousands of civilized years ahead of Earth. The whole planet is science fiction nirvana. The zooming spaceships, winged beast and advanced technology crafted from liquid metal. For once we experience the entire planet, not just a couple rooms made out of cheap crystal. There's a system of ways things work that has never been fleshed out on screen before. The government, the science and it's culture. At the head of the planet's scientific research is Jor-El (Russell Crowe) and he has discovered proof that may lead to the planet's destruction. But unfortunately his pleas towards his leaders are ignored due to the ongoing civil war with Jor-El's old friend General Zod (Michael Shannon). There's more history to the Jor-El/ Zod dynamic this time around which just enriches their conflict. There are millions of stories concerning Marlon Brando's $3 million dollar slumming in the '78 film. He intentionally mispronounced Krypton, made outrageous production demands and in the end that put him on the cutting room floor for it's sequel. Crowe see's Brando's paycheck acting and raises it with a performance full of gravitas. When conflicts begin to soften and punishments are served, more and more evidence begin to support Jor-El's claims of Krypton's destruction and with time and options exhausted, his final resort is to save his only son Kal-El. Still an infant, Jor-El concludes the only way his son will ever have any chance of life is to be sent to a more primitive alien planet and have a significant advantage over it's species. So he sends him to Earth, where it's sun will grant his body incredible abilities.
Jump 33 years later as the adult Kal-El, now under the name Clark Kent (Henry Cavil) is wandering the world trying to discover his place in it. There are multiple flashbacks to Clark's childhood with his adoptive parents Jonathan and Martha Kent (Kevin Costner and Diane Lane). Costner gives a heartfelt performance full of warmth as the father concerned with his son's well-being if the world rejects him. If someone with Clark's abilities were to be exposed to the public, it would be one of the biggest moments in human history. His existence alone would make everyone question religion, science and everything they had ever thought about the universe. And Lane strikes quiet, charming notes as the more understanding mother. Throughout his entire life Clark had been using his powers in secret, from saving derrick workers from fires to fighting a massive hurricane in his hometown of Smallville. If there's one word to describe Cavil's performance it's "Modern". He is not the "Aw shucks" farm boy nor is he the angst filled mess many feared he was going to be. There's still a humbleness, a sweetness and a sense of forthrightness to him. And of course he is a perfect physical representation of the character as well. As much as Christopher Reeve's performance still means to audiences today, it has reached a point where it has unfairly overshadowed the character. The idealism of Reeve's Superman isn't relevant today, at least not in the purest sense of the word. Cavil's Superman understands the difficulty of what his powers mean for the world and understands there really isn't anything to smile about.
Of course you can't tell a Superman story without his supporting players at the Daily Planet. Perry White (Laurence Fishburne, in an inspired piece of casting) knows the only way a newspaper could ever have hope at functioning these days is if they had major exclusives to the first alien ever revealed to the masses. Enter Lois Lane (Amy Adams, full of spunk) who has been chasing Clark's story all across the globe for several years. Lois has always been a tricky character to adapt, seeing how it's difficult for audiences to like her if you get it wrong. Can somebody who can't see Superman past a pair of thick glasses really be a Pulitzer Prize winning journalist? Thankfully, this Lois isn't as Shrill as Margot Kidder or as bland as Kate Bosworth in previous versions. Snyder and Adams treat Lois as the talented, dedicated journalist we know she really is by making her active at her profession and not having to prove anything just because she's a woman. The only thing she has to prove are her credentials, which are just as impressive as everything else about her. While some might be disappointed by the lack of romance between the couple, but to be fair, this isn't a Lois and Clark story, it's the story of Clark discovering his place in the world. But the spark between the two of them is certainly present when they first meet. For Clark to go from a lifetime of loneliness to have somebody instantly discover everything about you and admiring all of it is a luxury he has never had before.
Clark couldn't have picked a better time to make his presence known to the world, with General Zod returning to finish what he started. The cinematic Superman villains have created a history of scenery chewing performances dating back to Gene Hackman's Lex Luthor. Terrence Stamp was the first actor to portray Zod on film in Superman ll, but despite some memorable dialogue ("Kneel before Zod!") he was still essentially just a typical mustache twirling maniac. Zod this time around is nothing but bold tactics and is fully fledged to preserving his lost race, no matter what the cost. Michael Shannon is nothing but pure, demented megalomania. The only disadvantage Zod possesses though is that his body isn't used to the yellow son and must try and control all his new powers at once. Clark on the other hand, has had a lifetime to perfect his gifts.
Visual aesthetics have leaped skyscrapers since the Donner era. Snyder takes that technological advantage and gives fans what they have dreamed of for years. To put it bluntly, to see Supes punch somebody- really fucking hard! Snyder understands all of Superman's abilities and test them on the grandest scale imaginable. And he does so without resorting to his trademark slow-mo sequences and putting macho fantasies on display. In terms of action alone this is the first time the character has been given justice. Even as bombastic or repetitive it occasionally becomes, it can easily be forgiven because the character has been so overdue for it. It is unfortunate that cinematographer Amir Morki captures it all in a rather unpolished handheld style. But at least Snyder's chaotic direction finally seems to have a sense of aim and isn't relying on green screen to tell his stories. It may have to do with the influence of Nolan producing, but the end result is gloriously flashy, gritty and contains a well needed sense of gravity. And while Man of Steel never reaches the same dizzying heights as Nolan's Dark Knight trilogy, it still preserves and reintroduces it's legendary character in the same respect.
Snyder, Nolan and Goyer certainly have stayed true to the modern lore of Superman by adapting elements of his classic comic stories Birthright, Man for All Seasons, New Krypton and Earth One, and do so without damaging or over-explaining any of it. But if anything it's a science fiction story first then a comic book adaptation, in the vein of such first contact films as the original Day the Earth Stood Still and War of the Worlds. Man of Steel reminds us that Superman is not human, but still represents the best that humanity has to offer. It's the story of fathers, understanding your roots and taking hold of your destiny. It's always been that way for Superman, ever since he was created by young Jewish immigrants Jerry Siegel and Joe Shuster.
While the original theme music by John Williams is still the granddaddy of all superhero cinematic anthems, Hans Zimmer still creates a thunderous pulse of a score. Atmospheric, gentle and adrenaline charged, Zimmer accompanies Clark's drifting, the concerns of his parents and Superman's clashes with one perfect note after another.
Christopher Reeve for many people is still going to be the definitive Superman, but that's too be expected. For so long that's all we've had to go on as far as a great man of steel. There are multiple generations separating Reeve and Cavil and multiple generations separating their audiences. Will everyone accept Cavil as this modern Superman that understands today's humanity? As with Batman Begins, the conclusion doesn't technically set itself up for a sequel but it establishes an iconic part of it's universe in a nice wink that makes you want to see more of it. It isn't quite perfect, but this universe certainly deserved to grow. Because unlike what occurred in 2006, this time Superman really has returned.
As with all Superman mythology the story begins on Krypton, the planet that's hundreds of thousands of civilized years ahead of Earth. The whole planet is science fiction nirvana. The zooming spaceships, winged beast and advanced technology crafted from liquid metal. For once we experience the entire planet, not just a couple rooms made out of cheap crystal. There's a system of ways things work that has never been fleshed out on screen before. The government, the science and it's culture. At the head of the planet's scientific research is Jor-El (Russell Crowe) and he has discovered proof that may lead to the planet's destruction. But unfortunately his pleas towards his leaders are ignored due to the ongoing civil war with Jor-El's old friend General Zod (Michael Shannon). There's more history to the Jor-El/ Zod dynamic this time around which just enriches their conflict. There are millions of stories concerning Marlon Brando's $3 million dollar slumming in the '78 film. He intentionally mispronounced Krypton, made outrageous production demands and in the end that put him on the cutting room floor for it's sequel. Crowe see's Brando's paycheck acting and raises it with a performance full of gravitas. When conflicts begin to soften and punishments are served, more and more evidence begin to support Jor-El's claims of Krypton's destruction and with time and options exhausted, his final resort is to save his only son Kal-El. Still an infant, Jor-El concludes the only way his son will ever have any chance of life is to be sent to a more primitive alien planet and have a significant advantage over it's species. So he sends him to Earth, where it's sun will grant his body incredible abilities.
Jump 33 years later as the adult Kal-El, now under the name Clark Kent (Henry Cavil) is wandering the world trying to discover his place in it. There are multiple flashbacks to Clark's childhood with his adoptive parents Jonathan and Martha Kent (Kevin Costner and Diane Lane). Costner gives a heartfelt performance full of warmth as the father concerned with his son's well-being if the world rejects him. If someone with Clark's abilities were to be exposed to the public, it would be one of the biggest moments in human history. His existence alone would make everyone question religion, science and everything they had ever thought about the universe. And Lane strikes quiet, charming notes as the more understanding mother. Throughout his entire life Clark had been using his powers in secret, from saving derrick workers from fires to fighting a massive hurricane in his hometown of Smallville. If there's one word to describe Cavil's performance it's "Modern". He is not the "Aw shucks" farm boy nor is he the angst filled mess many feared he was going to be. There's still a humbleness, a sweetness and a sense of forthrightness to him. And of course he is a perfect physical representation of the character as well. As much as Christopher Reeve's performance still means to audiences today, it has reached a point where it has unfairly overshadowed the character. The idealism of Reeve's Superman isn't relevant today, at least not in the purest sense of the word. Cavil's Superman understands the difficulty of what his powers mean for the world and understands there really isn't anything to smile about.
Of course you can't tell a Superman story without his supporting players at the Daily Planet. Perry White (Laurence Fishburne, in an inspired piece of casting) knows the only way a newspaper could ever have hope at functioning these days is if they had major exclusives to the first alien ever revealed to the masses. Enter Lois Lane (Amy Adams, full of spunk) who has been chasing Clark's story all across the globe for several years. Lois has always been a tricky character to adapt, seeing how it's difficult for audiences to like her if you get it wrong. Can somebody who can't see Superman past a pair of thick glasses really be a Pulitzer Prize winning journalist? Thankfully, this Lois isn't as Shrill as Margot Kidder or as bland as Kate Bosworth in previous versions. Snyder and Adams treat Lois as the talented, dedicated journalist we know she really is by making her active at her profession and not having to prove anything just because she's a woman. The only thing she has to prove are her credentials, which are just as impressive as everything else about her. While some might be disappointed by the lack of romance between the couple, but to be fair, this isn't a Lois and Clark story, it's the story of Clark discovering his place in the world. But the spark between the two of them is certainly present when they first meet. For Clark to go from a lifetime of loneliness to have somebody instantly discover everything about you and admiring all of it is a luxury he has never had before.
Clark couldn't have picked a better time to make his presence known to the world, with General Zod returning to finish what he started. The cinematic Superman villains have created a history of scenery chewing performances dating back to Gene Hackman's Lex Luthor. Terrence Stamp was the first actor to portray Zod on film in Superman ll, but despite some memorable dialogue ("Kneel before Zod!") he was still essentially just a typical mustache twirling maniac. Zod this time around is nothing but bold tactics and is fully fledged to preserving his lost race, no matter what the cost. Michael Shannon is nothing but pure, demented megalomania. The only disadvantage Zod possesses though is that his body isn't used to the yellow son and must try and control all his new powers at once. Clark on the other hand, has had a lifetime to perfect his gifts.
Visual aesthetics have leaped skyscrapers since the Donner era. Snyder takes that technological advantage and gives fans what they have dreamed of for years. To put it bluntly, to see Supes punch somebody- really fucking hard! Snyder understands all of Superman's abilities and test them on the grandest scale imaginable. And he does so without resorting to his trademark slow-mo sequences and putting macho fantasies on display. In terms of action alone this is the first time the character has been given justice. Even as bombastic or repetitive it occasionally becomes, it can easily be forgiven because the character has been so overdue for it. It is unfortunate that cinematographer Amir Morki captures it all in a rather unpolished handheld style. But at least Snyder's chaotic direction finally seems to have a sense of aim and isn't relying on green screen to tell his stories. It may have to do with the influence of Nolan producing, but the end result is gloriously flashy, gritty and contains a well needed sense of gravity. And while Man of Steel never reaches the same dizzying heights as Nolan's Dark Knight trilogy, it still preserves and reintroduces it's legendary character in the same respect.
Snyder, Nolan and Goyer certainly have stayed true to the modern lore of Superman by adapting elements of his classic comic stories Birthright, Man for All Seasons, New Krypton and Earth One, and do so without damaging or over-explaining any of it. But if anything it's a science fiction story first then a comic book adaptation, in the vein of such first contact films as the original Day the Earth Stood Still and War of the Worlds. Man of Steel reminds us that Superman is not human, but still represents the best that humanity has to offer. It's the story of fathers, understanding your roots and taking hold of your destiny. It's always been that way for Superman, ever since he was created by young Jewish immigrants Jerry Siegel and Joe Shuster.
While the original theme music by John Williams is still the granddaddy of all superhero cinematic anthems, Hans Zimmer still creates a thunderous pulse of a score. Atmospheric, gentle and adrenaline charged, Zimmer accompanies Clark's drifting, the concerns of his parents and Superman's clashes with one perfect note after another.
Christopher Reeve for many people is still going to be the definitive Superman, but that's too be expected. For so long that's all we've had to go on as far as a great man of steel. There are multiple generations separating Reeve and Cavil and multiple generations separating their audiences. Will everyone accept Cavil as this modern Superman that understands today's humanity? As with Batman Begins, the conclusion doesn't technically set itself up for a sequel but it establishes an iconic part of it's universe in a nice wink that makes you want to see more of it. It isn't quite perfect, but this universe certainly deserved to grow. Because unlike what occurred in 2006, this time Superman really has returned.
5 Minute Movie Guy (379 KP) rated Godzilla (2014) in Movies
Jun 26, 2019
Godzilla's gigantic scale is impressive. (1 more)
Bryan Cranston gives a terrific performance.
Aaron Taylor-Johnson is a horribly lifeless protagonist. (2 more)
The film repeatedly obscures our chances to see Godzilla or cuts away from him completely.
There seems to be very little sense of panic or concern despite Godzilla and MUTO's destruction.
As promising as this new Godzilla movie may appear to be, it falls far short of expectations, and dare I say, it isn’t even much better than the 1998 version.
This year marks the 60th anniversary of the original Godzilla film, when the King of the Monsters first emerged from the Pacific and terrorized Tokyo, Japan. Roughly 10 years after America dropped two atomic bombs on Japan to end World War II, Godzilla was artistically created to be a physical, living representation of the destructive force of those bombs. Even the texture of his skin is modelled after keloid scars, which were found on survivors as a result of the radiation. Godzilla’s arrival and subsequent attacks were spurred by the use of nuclear weapons, and he as a character wholly embodies the consequences of nuclear warfare.
60 years later, Godzilla remains a global icon, having spawned dozens of movie sequels, while introducing several other enormous monsters to battle with. Then 16 years ago, he was reimagined as he first came to America in Roland Emmerich’s lackluster 1998 film Godzilla, leaving many fans severely disappointed with not only the film, but also the new rendition of the famous monster. While Godzilla is visually depicted much more accurately in Gareth Edward’s new 2014 Godzilla than he was in ’98, his entire presence is surprisingly different than usual. This isn’t the angry, vengeful Godzilla of the past. He actually now seems almost entirely indifferent to humans. Unfortunately, as promising as this new Godzilla movie may appear to be, it falls far short of expectations, and dare I say, it isn’t even much better than the 1998 Godzilla.
Godzilla (2014) starts off pretty well, strengthened by the performance of Bryan Cranston, who plays Joe Brody, a nuclear power plant engineer living in Japan. Brody is present when an unknown disaster occurs at the plant, costing many innocent lives. Despite what the trailers suggest, Cranston’s Brody is not the main character of the film. Nor is it fellow all-star actor Ken Watanabe. The main character is actually only seen for about 4 seconds of the film’s original 2 and a half minute trailer. It’s Joe Brody’s son, Ford, played by Aaron Taylor-Johnson, in a performance that is decent but far from engaging. The protagonist Ford Brody is a character that is largely uninteresting, and who just casually wants to get back to his family after the monster invasion. He fails to convey any genuine sense of urgency amidst the chaos, although the same can be said for the entire cast, with the exception of Cranston’s Brody. Cranston’s performance is the only one that has any emotional weight to it, but he can’t carry the film alone. Meanwhile, Ken Watanabe is essentially reduced to being the quiet, ever-present voice of reason that no one wants to listen to. The film has a solid cast of actors, but they’re not given enough to work with in this convoluted mess of a movie.
For a movie that has so much death and destruction, the people in the film never seem all that concerned. You get no sense of global panic and hysteria. You have a 300-foot-tall monster destroying cities, with millions of people dying, and yet nobody seems all that freaked out by it. It’s almost like the situation isn’t treated as a serious threat, and there’s a major lack of suspense altogether. There’s rarely any edge-of-your-seat terror or excitement, and the lack of emotion just makes the action come off as sort of flat and dull. Not only that, the majority of the destruction that’s taking place isn’t even seen, with the movie instead opting to show you the aftermath. Throughout the first two-thirds of the movie, the camera continuously cuts away from the action you’ve been waiting for. Rather than showing you what you want to see in full-glory, the movie frequently will take you to a different location where you’ll briefly see a few seconds of the catastrophe being watched by someone on television. It feels like a cheap trick to build up to some amazing climax, but it’s incredibly frustrating. It’s like when watching a reality TV show and then the show cuts to a commercial break before revealing the winner. Perhaps it would be more forgivable if the end was enjoyable, but even though it does give you a full display of the showdown, it’s bogged down by a tiresome human story and still lacks any real emotional punch. Despite the fact that the movie tries to convey a serious tone, it’s also incredibly cheesy. To the extent that the big finale that this movie has been trying so hard to build up to ends up being almost laughable. Ultimately the movie ends up just being unsatisfying, disappointing, and overly long.
There are a lot of ways in which Godzilla goes wrong, despite the film’s great potential. One of my issues is with the musical score, which ends up coming off like a bad punchline. Music is supposed to accentuate the action and drama of a film, yet the film feels emotionless and boring. The only time the music really stood out to me was when it was being used to heighten the suspense of the climactic battle, and essentially narrate who was winning. It was done so ineffectively that it was both kind of comical and embarrassing. I also have an issue with all of the special effects, which are being touted as absolutely amazing. They’re not. However, I will say that the use of special effects in the movie is quite ambitious, but it works to the film’s detriment. There’s simply too much of them, and this excessive nature of the film is, I think, its biggest mistake. Godzilla (2014) is ridiculously CGI-heavy, and while their scope is admirable, I really think the quality would have been substantially improved if they didn’t overdo it so much. I think a less-is-more approach would have benefited the film in many ways. It’s excessive to the point of making good things turn bad. Everything is way too over the top, causing the action to lose its impact. It’s evident the filmmakers were trying so hard to make this big-budget movie as epic as possible, but this enormous scale ends up backfiring. The rampage covers two continents, multiple cities, and even traverses the length of the Pacific Ocean. I can appreciate their attempt, but the movie is trying to do too much. In other words, Godzilla (2014) bites off more than it can chew.
I also have some problems with the film’s treatment of the titular character, Godzilla. First of all, for a movie named after him, he sure doesn’t appear much in it. He’s the reason why we want to see the movie, but he’s absent for the majority of the film. Even when he’s around, he’s largely obscured by CGI smoke and storm clouds, up until the final moments of the movie. I’m also not particularly fond of his appearance. He just doesn’t quite look like Godzilla to me. It’s like looking at a T-Rex head on Godzilla’s body. I’m aware that Godzilla’s facial appearance has changed many times over 60 years, but something just doesn’t look quite right here. Additionally, I feel that Godzilla’s face is actually too expressive in this new film. I wonder if this was done to cause viewers to feel more sympathetic to him, because in the film, Godzilla is actually depicted as something of a tragic hero, rather than a colossal beast. This is my biggest concern with the movie’s handling of his character. Godzilla’s destruction in the film is treated like it’s all unintentional, and just a result of his massive size. Even though humans attack him, he’s not angry about it or anything. Never mind the movie’s claim that all of America’s nuclear bomb tests after Hiroshima and Nagasaki were actually secretive but unsuccessful attempts to kill Godzilla. He doesn’t mind. He’s just a poor gentle giant that’s misunderstood. Really, Hollywood? Give me a break!
To say that Godzilla (2014) is almost as bad of a film as Godzilla (1998) is a statement that I don’t take lightly. It’s a bold and controversial thing to say, and it may seem a bit absurd considering that this film goes in the right direction, whereas the previous film was all wrong from the beginning. Yet while the new movie has all the right pieces for greatness, it extends its reach too far and attempts to do too much, while never managing to make any of it very good. In all seriousness, I was more entertained with the ’98 film than I was with this one. I can hardly comprehend how a movie with a giant 300-foot-tall monster destroying cities can be so boring. Godzilla (2014) focuses so much on trying to build up to an epic conclusion that it forgets to worry about making the audience care, or even about keeping them entertained, and it just gets worse as it goes on. It repeatedly tries to raise the stakes, as well as our expectations, while attempting to delay gratification until the end. It’s a risky move, and unsurprisingly, it certainly doesn’t pay off. On the bright side, Godzilla (2014) is probably a pretty sweet movie if you’re a 12-year-old. There’s plenty of action, some cool special effects, and he’s still a pretty awesome monster. However, for me, I was totally pumped up for this movie, but an hour and a half into it, I had endured enough and wanted to walk out. Godzilla (2014) disappointed me on so many levels. It’s a movie without a beating heart. It’s predictable, overly long, has uninspired characters and a weak story, and the action just never hits the right note. A little more emotion and a little less CGI could have a gone a long way in making this movie better. As a fan of Godzilla, I felt frustrated, detached, and perplexed with how they were able to do so much wrong when they had the groundwork for something great. You know, perhaps I’m wrong in claiming it’s comparably bad as Godzilla (1998). After all, the last time I saw that movie was in the theaters when I was 12.
(This review was originally posted at 5mmg.com on 5.17.14.)
60 years later, Godzilla remains a global icon, having spawned dozens of movie sequels, while introducing several other enormous monsters to battle with. Then 16 years ago, he was reimagined as he first came to America in Roland Emmerich’s lackluster 1998 film Godzilla, leaving many fans severely disappointed with not only the film, but also the new rendition of the famous monster. While Godzilla is visually depicted much more accurately in Gareth Edward’s new 2014 Godzilla than he was in ’98, his entire presence is surprisingly different than usual. This isn’t the angry, vengeful Godzilla of the past. He actually now seems almost entirely indifferent to humans. Unfortunately, as promising as this new Godzilla movie may appear to be, it falls far short of expectations, and dare I say, it isn’t even much better than the 1998 Godzilla.
Godzilla (2014) starts off pretty well, strengthened by the performance of Bryan Cranston, who plays Joe Brody, a nuclear power plant engineer living in Japan. Brody is present when an unknown disaster occurs at the plant, costing many innocent lives. Despite what the trailers suggest, Cranston’s Brody is not the main character of the film. Nor is it fellow all-star actor Ken Watanabe. The main character is actually only seen for about 4 seconds of the film’s original 2 and a half minute trailer. It’s Joe Brody’s son, Ford, played by Aaron Taylor-Johnson, in a performance that is decent but far from engaging. The protagonist Ford Brody is a character that is largely uninteresting, and who just casually wants to get back to his family after the monster invasion. He fails to convey any genuine sense of urgency amidst the chaos, although the same can be said for the entire cast, with the exception of Cranston’s Brody. Cranston’s performance is the only one that has any emotional weight to it, but he can’t carry the film alone. Meanwhile, Ken Watanabe is essentially reduced to being the quiet, ever-present voice of reason that no one wants to listen to. The film has a solid cast of actors, but they’re not given enough to work with in this convoluted mess of a movie.
For a movie that has so much death and destruction, the people in the film never seem all that concerned. You get no sense of global panic and hysteria. You have a 300-foot-tall monster destroying cities, with millions of people dying, and yet nobody seems all that freaked out by it. It’s almost like the situation isn’t treated as a serious threat, and there’s a major lack of suspense altogether. There’s rarely any edge-of-your-seat terror or excitement, and the lack of emotion just makes the action come off as sort of flat and dull. Not only that, the majority of the destruction that’s taking place isn’t even seen, with the movie instead opting to show you the aftermath. Throughout the first two-thirds of the movie, the camera continuously cuts away from the action you’ve been waiting for. Rather than showing you what you want to see in full-glory, the movie frequently will take you to a different location where you’ll briefly see a few seconds of the catastrophe being watched by someone on television. It feels like a cheap trick to build up to some amazing climax, but it’s incredibly frustrating. It’s like when watching a reality TV show and then the show cuts to a commercial break before revealing the winner. Perhaps it would be more forgivable if the end was enjoyable, but even though it does give you a full display of the showdown, it’s bogged down by a tiresome human story and still lacks any real emotional punch. Despite the fact that the movie tries to convey a serious tone, it’s also incredibly cheesy. To the extent that the big finale that this movie has been trying so hard to build up to ends up being almost laughable. Ultimately the movie ends up just being unsatisfying, disappointing, and overly long.
There are a lot of ways in which Godzilla goes wrong, despite the film’s great potential. One of my issues is with the musical score, which ends up coming off like a bad punchline. Music is supposed to accentuate the action and drama of a film, yet the film feels emotionless and boring. The only time the music really stood out to me was when it was being used to heighten the suspense of the climactic battle, and essentially narrate who was winning. It was done so ineffectively that it was both kind of comical and embarrassing. I also have an issue with all of the special effects, which are being touted as absolutely amazing. They’re not. However, I will say that the use of special effects in the movie is quite ambitious, but it works to the film’s detriment. There’s simply too much of them, and this excessive nature of the film is, I think, its biggest mistake. Godzilla (2014) is ridiculously CGI-heavy, and while their scope is admirable, I really think the quality would have been substantially improved if they didn’t overdo it so much. I think a less-is-more approach would have benefited the film in many ways. It’s excessive to the point of making good things turn bad. Everything is way too over the top, causing the action to lose its impact. It’s evident the filmmakers were trying so hard to make this big-budget movie as epic as possible, but this enormous scale ends up backfiring. The rampage covers two continents, multiple cities, and even traverses the length of the Pacific Ocean. I can appreciate their attempt, but the movie is trying to do too much. In other words, Godzilla (2014) bites off more than it can chew.
I also have some problems with the film’s treatment of the titular character, Godzilla. First of all, for a movie named after him, he sure doesn’t appear much in it. He’s the reason why we want to see the movie, but he’s absent for the majority of the film. Even when he’s around, he’s largely obscured by CGI smoke and storm clouds, up until the final moments of the movie. I’m also not particularly fond of his appearance. He just doesn’t quite look like Godzilla to me. It’s like looking at a T-Rex head on Godzilla’s body. I’m aware that Godzilla’s facial appearance has changed many times over 60 years, but something just doesn’t look quite right here. Additionally, I feel that Godzilla’s face is actually too expressive in this new film. I wonder if this was done to cause viewers to feel more sympathetic to him, because in the film, Godzilla is actually depicted as something of a tragic hero, rather than a colossal beast. This is my biggest concern with the movie’s handling of his character. Godzilla’s destruction in the film is treated like it’s all unintentional, and just a result of his massive size. Even though humans attack him, he’s not angry about it or anything. Never mind the movie’s claim that all of America’s nuclear bomb tests after Hiroshima and Nagasaki were actually secretive but unsuccessful attempts to kill Godzilla. He doesn’t mind. He’s just a poor gentle giant that’s misunderstood. Really, Hollywood? Give me a break!
To say that Godzilla (2014) is almost as bad of a film as Godzilla (1998) is a statement that I don’t take lightly. It’s a bold and controversial thing to say, and it may seem a bit absurd considering that this film goes in the right direction, whereas the previous film was all wrong from the beginning. Yet while the new movie has all the right pieces for greatness, it extends its reach too far and attempts to do too much, while never managing to make any of it very good. In all seriousness, I was more entertained with the ’98 film than I was with this one. I can hardly comprehend how a movie with a giant 300-foot-tall monster destroying cities can be so boring. Godzilla (2014) focuses so much on trying to build up to an epic conclusion that it forgets to worry about making the audience care, or even about keeping them entertained, and it just gets worse as it goes on. It repeatedly tries to raise the stakes, as well as our expectations, while attempting to delay gratification until the end. It’s a risky move, and unsurprisingly, it certainly doesn’t pay off. On the bright side, Godzilla (2014) is probably a pretty sweet movie if you’re a 12-year-old. There’s plenty of action, some cool special effects, and he’s still a pretty awesome monster. However, for me, I was totally pumped up for this movie, but an hour and a half into it, I had endured enough and wanted to walk out. Godzilla (2014) disappointed me on so many levels. It’s a movie without a beating heart. It’s predictable, overly long, has uninspired characters and a weak story, and the action just never hits the right note. A little more emotion and a little less CGI could have a gone a long way in making this movie better. As a fan of Godzilla, I felt frustrated, detached, and perplexed with how they were able to do so much wrong when they had the groundwork for something great. You know, perhaps I’m wrong in claiming it’s comparably bad as Godzilla (1998). After all, the last time I saw that movie was in the theaters when I was 12.
(This review was originally posted at 5mmg.com on 5.17.14.)