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FearlessLover (27 KP) rated Dunkirk (2017) in Movies
Jul 31, 2017
Stunning cinea
It' s 1940, 400,000 allied troops are cornered and cut off on the beaches of Dunkirk; with the enemy closing in, and no cover or defence, they await annihilation or a miracle. We experience the moment as the characters do, without unnecessary exposition or dialogue! This proves quite the departure for Nolan; there is a lot here that owes more to silent cinema than anything else, but his images often say all that needs to be said.
An opening frame invites us to join a group of soldiers. Next, the loudest onslaught of gunfire kicks the film into another gear. We are given as much pause for thought as the soldiers we follow. We run with Tommy, played here by a Fionn Whitehead, and like him, we are aware of comrades falling dead next to us, but it is all panic and no time; we will lament their loss later. Set to the ticking of a watch, we feel Tommy's heart pounding with ours, and we know the tone for this audacious movie has been set.
We see the event from different perspectives and from within different time frames. Right now, not many directors can build momentum like Nolan. The jumping to and from different characters' point of view, the corkscrewing impression of the editing, events echoed and mirrored by Hans Zimmer's Shepherd's Tones and persistent, all enveloping score, acting at times more like sound design than music; it all results in a constant rise in tension, to the point of almost being exhaustive.
This said, the editing also serves another purpose. The "Miracle of Dunkirk" is a grand story, with every soldier, every pilot, and every civilian having their own point of view. Nolan wants us to build up an overall picture of the event purely through subjective experience, so of course we spend a tiring week with the terrified boys. Of course we spend a desperate day with a fisherman as he and his familial crew sail their way into action. Lastly, given the fuel constraints of the RAF, whose decisions had to be immediate and impulsive, always a choice between defending the beach or getting home, why would we spend any more that an edge-of-your-seat, quickly-cut hour in the cockpit of a Spitfire, as they do their duty and enter into dogfights to keep the German aircraft at bay? Each timeline is contracted or dilated to give everybody equal measure and importance, whilst staying true to and very much in their situation. Yes, this means we're kept on our toes; we have moments of confusion as timelines cross over and we see the same thing happening from another point of view, but as we head into the finale, as well as the aforementioned tension and release (which is just exciting cinema), we also get to see how, despite very different perspectives, everyone was working together, and how sacrifice and struggle for duty were par for the course for all involved, whether other people knew it or not. It is important that we the audience recognise this bigger picture, and as everything clicks together in an emotive final convergence of efforts, we not only see the justification for the techniques adopted, but struggle to imagine the story told another way. That is, at least, without going down a standard route, with objective storytelling employed.
A proper review not being complete without comment on the elephant in the room, it must be said that Harry Styles does not stand out like the proverbial sore thumb at all. Frankly, he carries his scenes with aplomb, and surely, following the Heath Ledger lesson, and now this, it is time we learned that, maybe, Christopher Nolan just knows what he's doing better that we do? As to the other big names, there are moments from that remain with me so long after having seen it: Kenneth Brannagh and Mark Rylance can say so much with so little, their faces and gestures doing the heavy lifting to deliver a lot of the human emotion, and it would appear Tom Hardy has Oscar-worthy eyes! You need see nothing more through the course of his drama to have a complete sense of the type of man his Farrier is. We talk about great acting and achieving realism through imagination, but with the knowledge that Nolan actually took everyone to Dunkirk, sank real ships, sailed real ships, flew real Spitfires overhead, employed real explosions on the beach, and even rejected green screen and CGI in favour of cardboard cut-outs, it seems imagination wasn't too necessary for these already consummate actors.
Nolan's principle fan base will be well prepared for what they get; but with his insistence on holding back from the audience any perspective not afforded his characters, ala 'Memento', some knowledge of the "Miracle Of Dunkirk" might put the more casual viewer in better stead. Regardless of which camp you fall into, or indeed of whether or not the movie does it for you, certain things are for sure: With no melodrama or cheese, and no superfluous fluff or emotional subterfuge, 'Dunkirk' is a purely experiential movie, a technical marvel of a war film unlike any other I can name. It also stands as a beacon in Nolan's career, characterised by his desire to cultivate an audience willing to keep up with him. And perhaps most importantly, this is a key moment in world history that is often overlooked; a disaster averted which, had it not been, would have seen the history books written very differently. That this event has been marshalled by a confident and sincere director, who has surely by now cemented his name alongside those of his own heroes, is reason enough to see 'Dunkirk'.
An opening frame invites us to join a group of soldiers. Next, the loudest onslaught of gunfire kicks the film into another gear. We are given as much pause for thought as the soldiers we follow. We run with Tommy, played here by a Fionn Whitehead, and like him, we are aware of comrades falling dead next to us, but it is all panic and no time; we will lament their loss later. Set to the ticking of a watch, we feel Tommy's heart pounding with ours, and we know the tone for this audacious movie has been set.
We see the event from different perspectives and from within different time frames. Right now, not many directors can build momentum like Nolan. The jumping to and from different characters' point of view, the corkscrewing impression of the editing, events echoed and mirrored by Hans Zimmer's Shepherd's Tones and persistent, all enveloping score, acting at times more like sound design than music; it all results in a constant rise in tension, to the point of almost being exhaustive.
This said, the editing also serves another purpose. The "Miracle of Dunkirk" is a grand story, with every soldier, every pilot, and every civilian having their own point of view. Nolan wants us to build up an overall picture of the event purely through subjective experience, so of course we spend a tiring week with the terrified boys. Of course we spend a desperate day with a fisherman as he and his familial crew sail their way into action. Lastly, given the fuel constraints of the RAF, whose decisions had to be immediate and impulsive, always a choice between defending the beach or getting home, why would we spend any more that an edge-of-your-seat, quickly-cut hour in the cockpit of a Spitfire, as they do their duty and enter into dogfights to keep the German aircraft at bay? Each timeline is contracted or dilated to give everybody equal measure and importance, whilst staying true to and very much in their situation. Yes, this means we're kept on our toes; we have moments of confusion as timelines cross over and we see the same thing happening from another point of view, but as we head into the finale, as well as the aforementioned tension and release (which is just exciting cinema), we also get to see how, despite very different perspectives, everyone was working together, and how sacrifice and struggle for duty were par for the course for all involved, whether other people knew it or not. It is important that we the audience recognise this bigger picture, and as everything clicks together in an emotive final convergence of efforts, we not only see the justification for the techniques adopted, but struggle to imagine the story told another way. That is, at least, without going down a standard route, with objective storytelling employed.
A proper review not being complete without comment on the elephant in the room, it must be said that Harry Styles does not stand out like the proverbial sore thumb at all. Frankly, he carries his scenes with aplomb, and surely, following the Heath Ledger lesson, and now this, it is time we learned that, maybe, Christopher Nolan just knows what he's doing better that we do? As to the other big names, there are moments from that remain with me so long after having seen it: Kenneth Brannagh and Mark Rylance can say so much with so little, their faces and gestures doing the heavy lifting to deliver a lot of the human emotion, and it would appear Tom Hardy has Oscar-worthy eyes! You need see nothing more through the course of his drama to have a complete sense of the type of man his Farrier is. We talk about great acting and achieving realism through imagination, but with the knowledge that Nolan actually took everyone to Dunkirk, sank real ships, sailed real ships, flew real Spitfires overhead, employed real explosions on the beach, and even rejected green screen and CGI in favour of cardboard cut-outs, it seems imagination wasn't too necessary for these already consummate actors.
Nolan's principle fan base will be well prepared for what they get; but with his insistence on holding back from the audience any perspective not afforded his characters, ala 'Memento', some knowledge of the "Miracle Of Dunkirk" might put the more casual viewer in better stead. Regardless of which camp you fall into, or indeed of whether or not the movie does it for you, certain things are for sure: With no melodrama or cheese, and no superfluous fluff or emotional subterfuge, 'Dunkirk' is a purely experiential movie, a technical marvel of a war film unlike any other I can name. It also stands as a beacon in Nolan's career, characterised by his desire to cultivate an audience willing to keep up with him. And perhaps most importantly, this is a key moment in world history that is often overlooked; a disaster averted which, had it not been, would have seen the history books written very differently. That this event has been marshalled by a confident and sincere director, who has surely by now cemented his name alongside those of his own heroes, is reason enough to see 'Dunkirk'.
TacoDave (3841 KP) rated Star Wars: Episode IX - The Rise of Skywalker (2019) in Movies
Feb 5, 2020 (Updated May 6, 2020)
Special Effects (1 more)
Music
The force is weak with this one...
You've either already seen "The Rise of Skywalker" or you probably don't care too much about it. I won't go into major spoilers, except to say this: this movie is swiss cheese. It has so many holes and unexplained plot points that it would be futile to try to list them all. But here are a few:
We are told in the very beginning that the Emperor is still alive. Why? How? The last time we saw him, Darth Vader was throwing him over a railing to a definitive death. But they don't bother to explain it, other than some vague "This isn't the logic you're looking for..." hand-waving.
Apparently there are tons of new Force powers that nobody knew about. Like, for example, how Kylo Ren can not only see what Rey is seeing, but he can actually physically reach into her physical space and grab something. Even though he's not really there...? And if you think "Sure would be nice for a Jedi to be able to heal things. It could have saved so many characters over the years!" then you're in for a treat when Rey learns to heal a giant worm. How? Who knows? Cuz she's a badass chick, that's how! Shut up, misogynist!
There's this knife, see, and it contains a map, just like the doubloon in The Goonies, and the map points to one of only two thingamabobs that somehow lead to the secret hidden Sith planet. Don't ask why someone made the knife. Or why it was hidden where it was. Or how they knew where the thingamabob was. Or why they hid the map to the Sith planet that sounds like "Icicle" when people say it but is actually something like "Exegol."
Han Solo is dead. We know that from The Force Awakens. Except here he is, except not really, but possibly he is. He's at least talking to Kylo Ren. Or is he? Is he in Kylo's head? Is the guy hallucinating? "Don't know, don't care," say the writers. Just be happy you can see Harrison Ford's face again!
Apparently thousands of Sith have been hiding on a planet building hundreds (thousands?) of old-school star destroyers. How did that work? Where did they get the material? How many people does it take to build and run those ships and with that many people, how did they feed themselves? What resources do they have on Icicle to make clothes, weapons, etc.? It looks like a dark, empty, lightning-filled place and I didn't see any grocery stores or McDonald's. But somehow those millions of people are there and they survive ... somehow. Don't question it.
I think that's enough. You get the point. This movie is fun to watch, but it is a mess. You have to turn off your brain to enjoy it.
We are told in the very beginning that the Emperor is still alive. Why? How? The last time we saw him, Darth Vader was throwing him over a railing to a definitive death. But they don't bother to explain it, other than some vague "This isn't the logic you're looking for..." hand-waving.
Apparently there are tons of new Force powers that nobody knew about. Like, for example, how Kylo Ren can not only see what Rey is seeing, but he can actually physically reach into her physical space and grab something. Even though he's not really there...? And if you think "Sure would be nice for a Jedi to be able to heal things. It could have saved so many characters over the years!" then you're in for a treat when Rey learns to heal a giant worm. How? Who knows? Cuz she's a badass chick, that's how! Shut up, misogynist!
There's this knife, see, and it contains a map, just like the doubloon in The Goonies, and the map points to one of only two thingamabobs that somehow lead to the secret hidden Sith planet. Don't ask why someone made the knife. Or why it was hidden where it was. Or how they knew where the thingamabob was. Or why they hid the map to the Sith planet that sounds like "Icicle" when people say it but is actually something like "Exegol."
Han Solo is dead. We know that from The Force Awakens. Except here he is, except not really, but possibly he is. He's at least talking to Kylo Ren. Or is he? Is he in Kylo's head? Is the guy hallucinating? "Don't know, don't care," say the writers. Just be happy you can see Harrison Ford's face again!
Apparently thousands of Sith have been hiding on a planet building hundreds (thousands?) of old-school star destroyers. How did that work? Where did they get the material? How many people does it take to build and run those ships and with that many people, how did they feed themselves? What resources do they have on Icicle to make clothes, weapons, etc.? It looks like a dark, empty, lightning-filled place and I didn't see any grocery stores or McDonald's. But somehow those millions of people are there and they survive ... somehow. Don't question it.
I think that's enough. You get the point. This movie is fun to watch, but it is a mess. You have to turn off your brain to enjoy it.
Sophia (Bookwyrming Thoughts) (530 KP) rated Night of the Dragon (Shadow of the Fox #3) in Books
Apr 10, 2020 (Updated Apr 10, 2020)
ARC copy provided by Inkyard Press.
This review and other musings can be found at Bookwyrming Thoughts.
I think I’ve been completely ruined once again by Julie Kagawa, so I had to nurse my soul for about a week before I could muster up the courage to write a review.* With Night of the Dragon, the third and final book of her Shadow of the Fox trilogy, Kagawa has taken my heart and chucked it straight into another galaxy. I don’t know the rest of my current reads; what are they?
I’m… not sure when my heart will return this time.
Night of the Dragon is a continuation of Soul of the Sword.
We continue to follow Yumeko and her friends as they race against time to stop Genno from summoning the Kami Dragon and destroying Iwagoto. Safe to assume eventually it will be the world. And not just the short time they have: they have a challenging journey ahead because Genno will stop at nothing to prevent them from ruining his plans. Like the first two books, Kagawa introduces us to new yokai from Japanese mythology: each of them just as cruel, vicious and caring for nothing but spilling the blood of anything that stands in their way.
Tatsumi has a bit of an identity crisis here.
He’s not sure if he’s Haikaimono now that they’ve merged their souls or if he’s still Tatsumi. But over the course of his journey from Shadow of the Fox when he first meets Yumeko through the third book, he’s changed drastically. He’s not the only one who’s changed either; his literal resident demon inside of him has changed too, but he’s still the same badass Kage from the first book. He’s just more bloodthirsty.
I’m here for all the slow burns!
My heart is all mushy with the ships being sailed. Finally! Inside my heart cried because, at this point in the series, I’m cheering the group on to success. All the odds are against them, but I want my favorite cinnamons to conquer.
My heart still cries from wherever it landed.
I’m not surprised by the ending, but it doesn’t mean it didn’t hurt any less than it did. Either way, it was beautiful and perfect, and I couldn’t ask for anything less. (But I mean, it’s Julie Kagawa! I should know at reading 90% of her works that endings to a series are going to be *chef’s kiss*.)
Soul of the Sword was a struggle for me to get through, but it is so worth going through for Night of the Dragon. All the questions I had from the very beginning of the series get answered as everything comes together for an ending that made me want to cry and question my life choices.
*How do I bring justice to such perfection?! All the words have flown out the window. What even is a review?
This review and other musings can be found at Bookwyrming Thoughts.
I think I’ve been completely ruined once again by Julie Kagawa, so I had to nurse my soul for about a week before I could muster up the courage to write a review.* With Night of the Dragon, the third and final book of her Shadow of the Fox trilogy, Kagawa has taken my heart and chucked it straight into another galaxy. I don’t know the rest of my current reads; what are they?
I’m… not sure when my heart will return this time.
Night of the Dragon is a continuation of Soul of the Sword.
We continue to follow Yumeko and her friends as they race against time to stop Genno from summoning the Kami Dragon and destroying Iwagoto. Safe to assume eventually it will be the world. And not just the short time they have: they have a challenging journey ahead because Genno will stop at nothing to prevent them from ruining his plans. Like the first two books, Kagawa introduces us to new yokai from Japanese mythology: each of them just as cruel, vicious and caring for nothing but spilling the blood of anything that stands in their way.
Tatsumi has a bit of an identity crisis here.
He’s not sure if he’s Haikaimono now that they’ve merged their souls or if he’s still Tatsumi. But over the course of his journey from Shadow of the Fox when he first meets Yumeko through the third book, he’s changed drastically. He’s not the only one who’s changed either; his literal resident demon inside of him has changed too, but he’s still the same badass Kage from the first book. He’s just more bloodthirsty.
I’m here for all the slow burns!
My heart is all mushy with the ships being sailed. Finally! Inside my heart cried because, at this point in the series, I’m cheering the group on to success. All the odds are against them, but I want my favorite cinnamons to conquer.
My heart still cries from wherever it landed.
I’m not surprised by the ending, but it doesn’t mean it didn’t hurt any less than it did. Either way, it was beautiful and perfect, and I couldn’t ask for anything less. (But I mean, it’s Julie Kagawa! I should know at reading 90% of her works that endings to a series are going to be *chef’s kiss*.)
Soul of the Sword was a struggle for me to get through, but it is so worth going through for Night of the Dragon. All the questions I had from the very beginning of the series get answered as everything comes together for an ending that made me want to cry and question my life choices.
*How do I bring justice to such perfection?! All the words have flown out the window. What even is a review?
Purple Phoenix Games (2266 KP) rated Unmatched: Deadpool Expansion in Tabletop Games
Jul 8, 2021
In the expansion review series, we take a look at a game expansion to discuss whether it is a necessary purchase/addition to one’s collection.
This breakdown is for the expansion for the hit game, and Golden Feather Award-winning, Unmatched system entitled Unmatched: Deadpool.
This expansion adds the amazing Marvel character Deadpool to the game system, to expand any standalone set. It ships with a great DP mini, his HP dial, and a deck of 31 hilarious and ridiculous cards. It cannot be played without a base set, and I have used him with both Cobble & Fog as well as the Battle of Legends, Volume 1 sets.
DISCLAIMER: We were provided a prototype copy of this game expansion for the purposes of this review. You are invited to pre-order from the Mondo website or purchase from any retailers stocking it once released. -T
Does this expansion add a lot to the gameplay of original Unmatched? I very much think so. If you have yet to play any version of Unmatched, please do yourself a favor and remedy this at once. When you have played it, come back to finish the review.
What Deadpool lacks in full game components, it sure makes up for in uniqueness of character play. No more will the player need to strategize and synergize throughout the game. In fact, the Deadpool player now has access to so many crazy cards that really break the rules and make him so much harder to overcome. Deadpool has several healing cards in his deck, but also has a special healing ability that triggers every turn he attacks. I suppose now I realize why DP has an HP dial with a max HP of 10. I really do not want to spoil too much about what can be found in the Deadpool deck, but just know there are many chimichangas, many healing, and many rulebreaking possibilities.
Is it absolutely necessary to invest in the Deadpool expansion to enjoy Unmatched? No, but if you are a fan of Marvel or the character, it is a must-buy. However, if you (or the people with whom you play) are prudish sticks in the mud, then totally pass on it. That leaves more for the rest of us.
Official recommendation: I cannot say enough great things about Unmatched and every character I have played with it. Each character is certainly unique, but I will venture to say that you will be hard pressed to find a character even more unique than Deadpool. He offers such hilarity that I want to use him nearly every game. Now, knowing all the cards that come in his deck can tempt his players to manipulate the environment before starting the game, so do take care if you attempt to play AGAINST a Deadpool player. That’s the warning I will give, but I officially (and highly) recommend all fans of Marvel, Deadpool, and the Unmatched system to grab a copy of this small expansion.
This breakdown is for the expansion for the hit game, and Golden Feather Award-winning, Unmatched system entitled Unmatched: Deadpool.
This expansion adds the amazing Marvel character Deadpool to the game system, to expand any standalone set. It ships with a great DP mini, his HP dial, and a deck of 31 hilarious and ridiculous cards. It cannot be played without a base set, and I have used him with both Cobble & Fog as well as the Battle of Legends, Volume 1 sets.
DISCLAIMER: We were provided a prototype copy of this game expansion for the purposes of this review. You are invited to pre-order from the Mondo website or purchase from any retailers stocking it once released. -T
Does this expansion add a lot to the gameplay of original Unmatched? I very much think so. If you have yet to play any version of Unmatched, please do yourself a favor and remedy this at once. When you have played it, come back to finish the review.
What Deadpool lacks in full game components, it sure makes up for in uniqueness of character play. No more will the player need to strategize and synergize throughout the game. In fact, the Deadpool player now has access to so many crazy cards that really break the rules and make him so much harder to overcome. Deadpool has several healing cards in his deck, but also has a special healing ability that triggers every turn he attacks. I suppose now I realize why DP has an HP dial with a max HP of 10. I really do not want to spoil too much about what can be found in the Deadpool deck, but just know there are many chimichangas, many healing, and many rulebreaking possibilities.
Is it absolutely necessary to invest in the Deadpool expansion to enjoy Unmatched? No, but if you are a fan of Marvel or the character, it is a must-buy. However, if you (or the people with whom you play) are prudish sticks in the mud, then totally pass on it. That leaves more for the rest of us.
Official recommendation: I cannot say enough great things about Unmatched and every character I have played with it. Each character is certainly unique, but I will venture to say that you will be hard pressed to find a character even more unique than Deadpool. He offers such hilarity that I want to use him nearly every game. Now, knowing all the cards that come in his deck can tempt his players to manipulate the environment before starting the game, so do take care if you attempt to play AGAINST a Deadpool player. That’s the warning I will give, but I officially (and highly) recommend all fans of Marvel, Deadpool, and the Unmatched system to grab a copy of this small expansion.
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