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RəX Regent (349 KP) rated Godzilla (1954) in Movies
Feb 25, 2019
The beginning was inspired...
Contains spoilers, click to show
I was first introduced to Godzilla in cartoon form in the 1980′s as a child, but it wasn't until 1998, with Roland Emmerich's blockbuster reboot that I had seen the infamous beast on the pearl screen. I had also seem bits and bobs of the many original sequels as a child and they had made absolutely no impact on me what so ever! But I became aware of the significance of this, the original, only recently and it was due to this discovery that I hunted down the best copy available.
I ended up with the 2005 Region 1 release, which also includes the U.S. reworking from 1956, Godzilla: King Of The Monsters!. I could not have imagined that a the 1954 version of Godzilla, or more literally, Gojira, could have been so mature, so sombre, or so tempered with its sledgehammer philosophising. Produced just nine years after the devastating nuclear bombings of Hiroshima and Nagasaki, which effectively ended the Second World War, Gojira takes up the mantle on doing what Science Fiction does best, and created the cypher in the form of Godzilla, to represent the devastation left over from the nuking of these cities.
Godzilla is a nuclear beast, affected by U.S. nuclear tests and is now toxically radioactive and upon landfall on Tokyo, rains down, literally, nuclear destruction up on the city, in a manner not dissimilar too that levied upon either of the cities, Hiroshima or Nagasaki. But its not just about that. It about the creation of the next WMD which would ultimately be used against Godzilla but poses and moral dilemma that Robert Oppenheimer himself would appreciate, as to whether such a creation should be allowed to be developed. It also looks quite seriously into establishing the potential evolution of a creature such as Godzilla and uses plausible palaeontological arguments to justify his existence.
The pacing was good and though Godzilla strikes from almost the opening frame, there is a sense of an ongoing crisis rather than an impending apocalypse, with news outlets reporting throughout as plans, both military and civilian are sited.
All in all, this is not just the birth of the massive and largely corny and cheap Godzilla series, it is a striking, intelligent, moving and incredibly well judged masterpiece of 50′s cinema. But I should have known. Most rubbish franchises began with an inspired first movie, something to break the mould and this does the job perfectly.
But it isn't without its flaws. The special effects, though not all bad, are below par even for the time, but effective as for telling the story, some were very good with ALL being well conceived and ambitious. Some were very poor though, such as the model ships, which were unnecessarily below the standards and look like bath toys. But the cinematography was wonderful, with Honda shooting this in a classically manner. Tension was built brilliantly and the action rose to several crescendos and the excellent score by Akira Ifukube was not overused but brought to perfect effect when needed.
The acting was first-rate as well, proving Japanese cinemas reputation. But this was my first real foray into Japanese cinema, and what a treat it was. Many would look at this and see a cheap old film and others will see a film that whist let down by some less that brilliant visual effects and the fact that a lot of people, certainly in the U.K. find subtitles difficult, as a masterpiece not only of Eastern cinema but of cinema full stop. Truly realising its narrative and spirit, its cause and message. This was about a county in mourning not only for the hundreds of thousands lost by Fat Man and Little Boy, but for the war full stop. The 1950′s were a time of great political fear and reconstruction after WW2, and this is a film which taps into the brewing Cold War and fear of annihilation from human behemoths which once released can never be returned.
HIGHLY recommended but not for children as they will bore, miss the point, get put off by the subtitles, black and white and quite frankly its a mature and bleak film and not the 1998 remake. And thank God or Godzilla for that!
I ended up with the 2005 Region 1 release, which also includes the U.S. reworking from 1956, Godzilla: King Of The Monsters!. I could not have imagined that a the 1954 version of Godzilla, or more literally, Gojira, could have been so mature, so sombre, or so tempered with its sledgehammer philosophising. Produced just nine years after the devastating nuclear bombings of Hiroshima and Nagasaki, which effectively ended the Second World War, Gojira takes up the mantle on doing what Science Fiction does best, and created the cypher in the form of Godzilla, to represent the devastation left over from the nuking of these cities.
Godzilla is a nuclear beast, affected by U.S. nuclear tests and is now toxically radioactive and upon landfall on Tokyo, rains down, literally, nuclear destruction up on the city, in a manner not dissimilar too that levied upon either of the cities, Hiroshima or Nagasaki. But its not just about that. It about the creation of the next WMD which would ultimately be used against Godzilla but poses and moral dilemma that Robert Oppenheimer himself would appreciate, as to whether such a creation should be allowed to be developed. It also looks quite seriously into establishing the potential evolution of a creature such as Godzilla and uses plausible palaeontological arguments to justify his existence.
The pacing was good and though Godzilla strikes from almost the opening frame, there is a sense of an ongoing crisis rather than an impending apocalypse, with news outlets reporting throughout as plans, both military and civilian are sited.
All in all, this is not just the birth of the massive and largely corny and cheap Godzilla series, it is a striking, intelligent, moving and incredibly well judged masterpiece of 50′s cinema. But I should have known. Most rubbish franchises began with an inspired first movie, something to break the mould and this does the job perfectly.
But it isn't without its flaws. The special effects, though not all bad, are below par even for the time, but effective as for telling the story, some were very good with ALL being well conceived and ambitious. Some were very poor though, such as the model ships, which were unnecessarily below the standards and look like bath toys. But the cinematography was wonderful, with Honda shooting this in a classically manner. Tension was built brilliantly and the action rose to several crescendos and the excellent score by Akira Ifukube was not overused but brought to perfect effect when needed.
The acting was first-rate as well, proving Japanese cinemas reputation. But this was my first real foray into Japanese cinema, and what a treat it was. Many would look at this and see a cheap old film and others will see a film that whist let down by some less that brilliant visual effects and the fact that a lot of people, certainly in the U.K. find subtitles difficult, as a masterpiece not only of Eastern cinema but of cinema full stop. Truly realising its narrative and spirit, its cause and message. This was about a county in mourning not only for the hundreds of thousands lost by Fat Man and Little Boy, but for the war full stop. The 1950′s were a time of great political fear and reconstruction after WW2, and this is a film which taps into the brewing Cold War and fear of annihilation from human behemoths which once released can never be returned.
HIGHLY recommended but not for children as they will bore, miss the point, get put off by the subtitles, black and white and quite frankly its a mature and bleak film and not the 1998 remake. And thank God or Godzilla for that!
Movie Metropolis (309 KP) rated Blade Runner 2049 (2017) in Movies
Jun 10, 2019
A Visual Treat
It was always going to be a tricky proposition to craft a sequel to Ridley Scott’s divisive 1982 film, Blade Runner. By divisive, I mean that while it has gained a cult following in the decades since its initial release, the film’s initial box-office run resulted in a gross that many would label ‘disappointing.’
Stuck in development hell for well over 20 years, Blade Runner 2049 as it’s now known entered the hands of sci-fi aficionado Denis Villeneuve since 2015. But has a wait of over three decades been kind to the finished film?
Officer K (Ryan Gosling), a new blade runner tasked with tracking down old replicants for the Los Angeles Police Department, unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. His discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former blade runner who’s been missing for 30 years.
Visually, Blade Runner 2049 is an absolute masterpiece but from the director of the equally stunning Arrival, this was to be expected. Tasked with taking the first film and crafting a worthy sequel was never going to be an easy ride for Villeneuve and he almost makes it out the other side unscathed, almost.
Our cast is one of the film’s strongest suits with Gosling in particular being as magnetic a presence as ever. It’s also nice to see the wonderful Dave Bautista sink his teeth into something a little grittier than his well-worn Drax persona. Unfortunately, despite being an ever-present feature in the trailers, Harrison Ford is disappointingly underused, though he does appear in 2049’s best sequences.
The cinematography is absolutely beautiful, there really is no other word for it. Bizarrely grounded in reality, the year 2049 is a place that doesn’t feel too far away from the world as we know it. Villeneuve’s metropolis’ live and breathe right before our very eyes with a desolate Las Vegas in particular being a highlight, bathed in an eerie orange glow.
The CGI too is staggering and some of the best seen in the genre. Holograms litter the cityscapes and detail pours out of every frame – Blade Runner 2049 has been meticulously crafted to an incredibly high standard by someone who clearly cares about the legacy this film will leave.
Elsewhere, the score by Hans Zimmer and Benjamin Wallfisch is exquisite. Blending nostalgic tones with a modern edge, the music is one of the film’s high points and couples with each frame almost perfectly.
So, to look at and to listen to, it’s spectacular. But how does the rest of this sequel fare? Well, not too bad at all really. The story feels linked to the first film in a way that doesn’t tread on its toes. Many long-awaited sequels feel it necessary to shred what came before and try far too hard to craft their own paths. Thankfully, 2049 honours its predecessor in more ways than just sickly nostalgia.
Unfortunately, it’s far too long. At 163 minutes, this is a real slog by anyone’s standards and while it’s true the pacing is spot on, there’s no getting away from the fact that this is a long film and feels it. It would’ve been pretty easy to shave a couple of minutes from the run-time here and there, though it’s not too much of an issue.
My only other bugbear is a pretty big one. Ridley Scott’s ’82 masterpiece was a film that had a soul, despite its plot focusing on those to the contrary. Here, the sheen, the glitz and the polish are all super impressive but much like the replicants our blade runner must hunt, it all feels a touch soulless.
Ultimately, Blade Runner 2049 is a fine sequel to a film that’s been crying out for one since 1982. Ryan Gosling and Harrison Ford make a fine pairing despite the latter’s limited screen time but what this film is lacking is heart, and that’s something that can’t be made with stunning cinematography.
https://moviemetropolis.net/2017/10/06/blade-runner-2049-review/
Stuck in development hell for well over 20 years, Blade Runner 2049 as it’s now known entered the hands of sci-fi aficionado Denis Villeneuve since 2015. But has a wait of over three decades been kind to the finished film?
Officer K (Ryan Gosling), a new blade runner tasked with tracking down old replicants for the Los Angeles Police Department, unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. His discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former blade runner who’s been missing for 30 years.
Visually, Blade Runner 2049 is an absolute masterpiece but from the director of the equally stunning Arrival, this was to be expected. Tasked with taking the first film and crafting a worthy sequel was never going to be an easy ride for Villeneuve and he almost makes it out the other side unscathed, almost.
Our cast is one of the film’s strongest suits with Gosling in particular being as magnetic a presence as ever. It’s also nice to see the wonderful Dave Bautista sink his teeth into something a little grittier than his well-worn Drax persona. Unfortunately, despite being an ever-present feature in the trailers, Harrison Ford is disappointingly underused, though he does appear in 2049’s best sequences.
The cinematography is absolutely beautiful, there really is no other word for it. Bizarrely grounded in reality, the year 2049 is a place that doesn’t feel too far away from the world as we know it. Villeneuve’s metropolis’ live and breathe right before our very eyes with a desolate Las Vegas in particular being a highlight, bathed in an eerie orange glow.
The CGI too is staggering and some of the best seen in the genre. Holograms litter the cityscapes and detail pours out of every frame – Blade Runner 2049 has been meticulously crafted to an incredibly high standard by someone who clearly cares about the legacy this film will leave.
Elsewhere, the score by Hans Zimmer and Benjamin Wallfisch is exquisite. Blending nostalgic tones with a modern edge, the music is one of the film’s high points and couples with each frame almost perfectly.
So, to look at and to listen to, it’s spectacular. But how does the rest of this sequel fare? Well, not too bad at all really. The story feels linked to the first film in a way that doesn’t tread on its toes. Many long-awaited sequels feel it necessary to shred what came before and try far too hard to craft their own paths. Thankfully, 2049 honours its predecessor in more ways than just sickly nostalgia.
Unfortunately, it’s far too long. At 163 minutes, this is a real slog by anyone’s standards and while it’s true the pacing is spot on, there’s no getting away from the fact that this is a long film and feels it. It would’ve been pretty easy to shave a couple of minutes from the run-time here and there, though it’s not too much of an issue.
My only other bugbear is a pretty big one. Ridley Scott’s ’82 masterpiece was a film that had a soul, despite its plot focusing on those to the contrary. Here, the sheen, the glitz and the polish are all super impressive but much like the replicants our blade runner must hunt, it all feels a touch soulless.
Ultimately, Blade Runner 2049 is a fine sequel to a film that’s been crying out for one since 1982. Ryan Gosling and Harrison Ford make a fine pairing despite the latter’s limited screen time but what this film is lacking is heart, and that’s something that can’t be made with stunning cinematography.
https://moviemetropolis.net/2017/10/06/blade-runner-2049-review/
Heather Cranmer (2721 KP) rated The Curse of Betrayal (Curse Books, #2) in Books
Jun 7, 2018
(This review can also be found on my blog <a href="http://themisadventuresofatwentysomething.blogspot.com/">The (Mis)Adventures of a Twenty-Something Year Old Girl</a>).
You know when you read the second book in a series, and think how much better the first book was? Well, this isn't the case with The Curse of Betrayal! In fact, I think this book was even better than its predecessor. I believe The Curse of Betrayal could be read as a stand alone, but it'd be much more enjoyable if you read The Thousand Year Curse which is the first book in the series.
I like the title. Ryder does feel a bit betrayed by her mother and someone else (to tell would be spoilers) in the book.
Like the first book, I'm not a fan of the cover of this book either. It's just too plain for my liking, and for those that do judge a book by its cover (of which I have been guilty before), I think it will put them off reading this AMAZING book!
I enjoyed the world building. It seemed as if a place like the Demi God Academy could really exist. Plus, the world in this book answers most of my questions from the first book. The world building is definitely interesting in this book!
The pacing is spot on! I loved every page and couldn't wait to find out what would happen next. Even in the pages where there was no action, it was still very gripping.
The plot is just as interesting, if not more interesting, as the first book. In this book, we learn more about Ryder, Ryder's elusive mother, and Ari as well as a new cast of characters. We get to see Ryder's first year at Demi God Academy, and let's just say it is anything but uneventful. Ryder is still trying to work out her curse and find out which man is her soul mate. There's also another added danger that I won't go in to due to spoilers.
Miss Lavati does an excellent job of making sure her characters are well written and able to come to life. While I liked Ryder and found her to be a well rounded character, I thought she was being a bit too whiny and selfish with double standards. For example, it's okay for Ryder to flirt with and kiss both Ollie and Ari, but when one of them does it with another girl, Ryder gets insanely jealous. (There's one scene at a restaurant where this is very apparent and a bit over the top). I do feel bad for Ryder though. While some may think it'd be amazing to have two hot guys pine after your affections, Ryder doesn't want to hurt either one of them and hates seeing each one miserable. Plus, her life is in danger thanks to the curse Hades has put on her. I was glad that Ari was featured a lot in this book because I'm definitely Team Ari, and I really want Ryder to pick him. Ari is just a smooth kind of guy. He's funny and witty. Ollie is in the book just not as much as Ari. I do like Ollie also, but just not as much as Ari. Ollie is very caring and everything, but I just feel like Ari would make a better boyfriend. I also liked Kara in this book. She was such an awesome best friend, and I loved the way she really cared about Ryder.
The dialogue fits perfectly for a mature young adult/new adult book. I enjoyed every single scene. There are a few grammatical errors, but it doesn't take away from the book at all. There's also swearing and sexual references, but nothing over the top.
Overall, The Curse of Betrayal by Taylor Lavati is a fantastic read. This book has a great cast of characters, a super interesting plot, and a very immersive world. Miss Lavati is a very talented writer, and I enjoy reading her work. Will I be reading the next book in the series? Most definitely!
I'd recommend this book to those aged 17+ who enjoy reading about Greek mythology, hot guys, and/or great characters.
<b>I'd give The Curse of Betrayal (Curse Books #2) by Taylor Lavati a 4.75 out of 5.</b>
You know when you read the second book in a series, and think how much better the first book was? Well, this isn't the case with The Curse of Betrayal! In fact, I think this book was even better than its predecessor. I believe The Curse of Betrayal could be read as a stand alone, but it'd be much more enjoyable if you read The Thousand Year Curse which is the first book in the series.
I like the title. Ryder does feel a bit betrayed by her mother and someone else (to tell would be spoilers) in the book.
Like the first book, I'm not a fan of the cover of this book either. It's just too plain for my liking, and for those that do judge a book by its cover (of which I have been guilty before), I think it will put them off reading this AMAZING book!
I enjoyed the world building. It seemed as if a place like the Demi God Academy could really exist. Plus, the world in this book answers most of my questions from the first book. The world building is definitely interesting in this book!
The pacing is spot on! I loved every page and couldn't wait to find out what would happen next. Even in the pages where there was no action, it was still very gripping.
The plot is just as interesting, if not more interesting, as the first book. In this book, we learn more about Ryder, Ryder's elusive mother, and Ari as well as a new cast of characters. We get to see Ryder's first year at Demi God Academy, and let's just say it is anything but uneventful. Ryder is still trying to work out her curse and find out which man is her soul mate. There's also another added danger that I won't go in to due to spoilers.
Miss Lavati does an excellent job of making sure her characters are well written and able to come to life. While I liked Ryder and found her to be a well rounded character, I thought she was being a bit too whiny and selfish with double standards. For example, it's okay for Ryder to flirt with and kiss both Ollie and Ari, but when one of them does it with another girl, Ryder gets insanely jealous. (There's one scene at a restaurant where this is very apparent and a bit over the top). I do feel bad for Ryder though. While some may think it'd be amazing to have two hot guys pine after your affections, Ryder doesn't want to hurt either one of them and hates seeing each one miserable. Plus, her life is in danger thanks to the curse Hades has put on her. I was glad that Ari was featured a lot in this book because I'm definitely Team Ari, and I really want Ryder to pick him. Ari is just a smooth kind of guy. He's funny and witty. Ollie is in the book just not as much as Ari. I do like Ollie also, but just not as much as Ari. Ollie is very caring and everything, but I just feel like Ari would make a better boyfriend. I also liked Kara in this book. She was such an awesome best friend, and I loved the way she really cared about Ryder.
The dialogue fits perfectly for a mature young adult/new adult book. I enjoyed every single scene. There are a few grammatical errors, but it doesn't take away from the book at all. There's also swearing and sexual references, but nothing over the top.
Overall, The Curse of Betrayal by Taylor Lavati is a fantastic read. This book has a great cast of characters, a super interesting plot, and a very immersive world. Miss Lavati is a very talented writer, and I enjoy reading her work. Will I be reading the next book in the series? Most definitely!
I'd recommend this book to those aged 17+ who enjoy reading about Greek mythology, hot guys, and/or great characters.
<b>I'd give The Curse of Betrayal (Curse Books #2) by Taylor Lavati a 4.75 out of 5.</b>
Gareth von Kallenbach (971 KP) rated We're The Millers (2013) in Movies
Jun 19, 2019
Life for petty drug dealer David Clark (Jason Sudeikes) is a fairly routine existence. He has his regular customers and makes his living selling small quantities of marijuana to his regulars while maintaining his ethical standards not to sell to children. David had fallen into this line of work in college and is managed to get by and save $20,000 for himself. David’s former college cohort Brad (Ed Helms) is his major supplier and unlike David, Brad has grown extremely wealthy and powerful through letting people like David do the dirty work.
David has long held a torch for his neighbor Rose (Jennifer Aniston), a stripper with a heart of gold who seems only successful at attracting loser boyfriends and maintaining her disdain for David.
When a local homeless girl named Casey (Emma Roberts), is accosted in front of his apartment building, David reluctantly comes to the aid of a well-intentioned dork named Kenny (Will Poulter), who has a habit of acting without thinking. Since Kenny is one of David’s neighbors and despite his geeky nature a good kid, David reluctantly becomes involved and soon finds himself the target of the assailants. Adding insult to injury, the robbers take all his money and drug supplies, including his savings.
Unable to pay Brad for what was taken, David reluctantly enters into an agreement where he traveled to Mexico and return a quantity of marijuana for Brad who in turn will wipe his debts clean and pay him for his efforts. Not wanting to end up in jail but seeing no other way out of his predicament, David enlists Casey, Kenny, and a reluctant but desperate Rose to pose as his all-American family for the trip in an effort to throw off any customs or law enforcement officials would be suspicious of David traveling alone.
Things seem to go smoothly at first despite tensions amongst the ad hoc family and despite a rendezvous with some scary individuals; they soon find their R.V. loaded to the max with bundles of drugs. This development panics David as he was expecting to transport only a modest amount across the border and realizes that being discovered with the quantities he’s attempting to smuggle into the country would result in some serious jail time.
Undaunted, the family who dubbed themselves the Miller’s continue with the plan which results in a series of humorous misfortunes along the way him including an overzealous RV couple (Nick Offerman and Katheryn Hahn), who just happens to be an active DEA agent with a knack for showing up no matter where the Miller’s go. You race against time with some serious bad guys in pursuit; the Miller’s must come together and put aside their dysfunctions to accomplish their bizarre and wacky mission.
While most people will be able to see the romantic subplots from a mile away what really makes this film shine is the outrageous comedy that is persistent throughout. The best laughs have not been wasted in the trailers which is unfortunately all too common for films of this type and the supporting work of Offerman and Poulter nearly steal the movie. Aniston is essentially playing the same character she plays in almost every one of her performances but at least she gets to take a little bit wilder edge that she teased in last year’s “Horrible Bosses”. Her repair shop striptease is definitely one of the more memorable scenes in the film that has nothing on the tender yet humorous scene or she decides to help Kenny out in regard to his awkwardness with women.
Sudeikes has really been on a roll of late as he not only had a hit with the previously mentioned “Horrible Bosses”, but has done solid work in the interim not the least of which is his outing as the sympathetic Dave. One would think film about drug smugglers, strippers, and other social undesirables would not be so enjoyable nor would characters come across is so endearing and sympathetic. That being said the film was definitely very pleasant supriserites and if you set your expectations accordingly you may find yourself not only laughing along at the outrageous antics but looking forward to spending more time with this crazy group in the future.
http://sknr.net/2013/08/07/were-the-millers/
David has long held a torch for his neighbor Rose (Jennifer Aniston), a stripper with a heart of gold who seems only successful at attracting loser boyfriends and maintaining her disdain for David.
When a local homeless girl named Casey (Emma Roberts), is accosted in front of his apartment building, David reluctantly comes to the aid of a well-intentioned dork named Kenny (Will Poulter), who has a habit of acting without thinking. Since Kenny is one of David’s neighbors and despite his geeky nature a good kid, David reluctantly becomes involved and soon finds himself the target of the assailants. Adding insult to injury, the robbers take all his money and drug supplies, including his savings.
Unable to pay Brad for what was taken, David reluctantly enters into an agreement where he traveled to Mexico and return a quantity of marijuana for Brad who in turn will wipe his debts clean and pay him for his efforts. Not wanting to end up in jail but seeing no other way out of his predicament, David enlists Casey, Kenny, and a reluctant but desperate Rose to pose as his all-American family for the trip in an effort to throw off any customs or law enforcement officials would be suspicious of David traveling alone.
Things seem to go smoothly at first despite tensions amongst the ad hoc family and despite a rendezvous with some scary individuals; they soon find their R.V. loaded to the max with bundles of drugs. This development panics David as he was expecting to transport only a modest amount across the border and realizes that being discovered with the quantities he’s attempting to smuggle into the country would result in some serious jail time.
Undaunted, the family who dubbed themselves the Miller’s continue with the plan which results in a series of humorous misfortunes along the way him including an overzealous RV couple (Nick Offerman and Katheryn Hahn), who just happens to be an active DEA agent with a knack for showing up no matter where the Miller’s go. You race against time with some serious bad guys in pursuit; the Miller’s must come together and put aside their dysfunctions to accomplish their bizarre and wacky mission.
While most people will be able to see the romantic subplots from a mile away what really makes this film shine is the outrageous comedy that is persistent throughout. The best laughs have not been wasted in the trailers which is unfortunately all too common for films of this type and the supporting work of Offerman and Poulter nearly steal the movie. Aniston is essentially playing the same character she plays in almost every one of her performances but at least she gets to take a little bit wilder edge that she teased in last year’s “Horrible Bosses”. Her repair shop striptease is definitely one of the more memorable scenes in the film that has nothing on the tender yet humorous scene or she decides to help Kenny out in regard to his awkwardness with women.
Sudeikes has really been on a roll of late as he not only had a hit with the previously mentioned “Horrible Bosses”, but has done solid work in the interim not the least of which is his outing as the sympathetic Dave. One would think film about drug smugglers, strippers, and other social undesirables would not be so enjoyable nor would characters come across is so endearing and sympathetic. That being said the film was definitely very pleasant supriserites and if you set your expectations accordingly you may find yourself not only laughing along at the outrageous antics but looking forward to spending more time with this crazy group in the future.
http://sknr.net/2013/08/07/were-the-millers/
Gareth von Kallenbach (971 KP) rated Casino Royale (2006) in Movies
Aug 14, 2019
In an effort to breathe life into franchises, Hollywood, has looked to remaking franchises instead of adding sequels. This is a stark contrast to remaking a film 10-20 years after the original film appeared, rather the new trend is to start series anew, in effect wiping away the previous history and continuity of the past films in the series.
The idea is that rather than let several years pass in a series, or creating another sequel, filmmaker will go back to the beginning and start anew, in order to propel the franchise forward.
While remakes are nothing new in Hollywood, the idea to revamp series that recently had sequels is gaining ground. With the classic Horror film “Halloween” about to be remade, it seems that Hollywood is taking a long hard look at this new trend.
Perhaps the biggest example of this trend is in the new James Bond film Casino Royale, which introduces Daniel Craig as the new 007. The film takes the controversial twist to show the first mission of Bond and how he earned the rank of 00.
The twist is that the film takes place in the modern day and for the most part, casts aside all previous history and continuity that has been established by decades of Bond films.
The story involves bond on the trail of a Le Chiffre (Mads Mikkelsen), a man who makes his living laundering money for various insurgents thus providing them cash for their terrorist and military missions.
In exotic locales ranging from the Caribbean to Montenegro Bond soon finds himself facing off against Le Chiffre in a high-stakes poker game in order to defeat Le Chiffre and thus cripple him and his network.
Of course there are plenty of subplots, and some great action sequences especially a thrilling chase in a construction site and a break neck chase in an airport that underscores that the series still have plenty of life in it and always sets the standards for stunt work in action films.
That being said the film has its issues. First, it is to long, and lengthy sequences past without action or dynamic tension. I know this is a film based on a card game, but I come to a Bond film expecting action, sex, and thrills, not a series of poker games that cover nearly 30 minutes with precious little action between them.
In addition, there is precious little romance in the film. Sure there are gorgeous women and Bond never fails to charm them, but, how many times has Bond ever passed up spending the night with a woman, simply to get out of town fast to pursue a lead. I am sure Sean Connery’s Bond would have found the time to do both with his typical style.
This is not to say that Craig is bad in his role as he does a darker and much grittier Bond than we have previously films which will serve the franchise well in the future.
What concerns me most is that from the books and all previous history, Bond is an orphan of noble birth and is a member of upper society and radiates class, sophistication and nobility, and this was evident from his early years all through his recruitment from the Royal Navy into the ranks of espionage.
Craig’s Bond does not show these qualities but rather comes across as a common Joe who is playing the part of a heavy. The appeal of Bond is underscored by the fact that he is a suave individual who can bend a person to his will as easily as he can kill without mercy or regret.
While I do not like the decision to remake the franchise, I will say that the film was much better than I expected it to be and is one of the better Bonds in recent years. Here is hoping that for the next time out, the reigns are loosed on Craig so we can allow him to interpret Bond in a way that is original and fresh, yet stays true to the source material and history of the character.
The idea is that rather than let several years pass in a series, or creating another sequel, filmmaker will go back to the beginning and start anew, in order to propel the franchise forward.
While remakes are nothing new in Hollywood, the idea to revamp series that recently had sequels is gaining ground. With the classic Horror film “Halloween” about to be remade, it seems that Hollywood is taking a long hard look at this new trend.
Perhaps the biggest example of this trend is in the new James Bond film Casino Royale, which introduces Daniel Craig as the new 007. The film takes the controversial twist to show the first mission of Bond and how he earned the rank of 00.
The twist is that the film takes place in the modern day and for the most part, casts aside all previous history and continuity that has been established by decades of Bond films.
The story involves bond on the trail of a Le Chiffre (Mads Mikkelsen), a man who makes his living laundering money for various insurgents thus providing them cash for their terrorist and military missions.
In exotic locales ranging from the Caribbean to Montenegro Bond soon finds himself facing off against Le Chiffre in a high-stakes poker game in order to defeat Le Chiffre and thus cripple him and his network.
Of course there are plenty of subplots, and some great action sequences especially a thrilling chase in a construction site and a break neck chase in an airport that underscores that the series still have plenty of life in it and always sets the standards for stunt work in action films.
That being said the film has its issues. First, it is to long, and lengthy sequences past without action or dynamic tension. I know this is a film based on a card game, but I come to a Bond film expecting action, sex, and thrills, not a series of poker games that cover nearly 30 minutes with precious little action between them.
In addition, there is precious little romance in the film. Sure there are gorgeous women and Bond never fails to charm them, but, how many times has Bond ever passed up spending the night with a woman, simply to get out of town fast to pursue a lead. I am sure Sean Connery’s Bond would have found the time to do both with his typical style.
This is not to say that Craig is bad in his role as he does a darker and much grittier Bond than we have previously films which will serve the franchise well in the future.
What concerns me most is that from the books and all previous history, Bond is an orphan of noble birth and is a member of upper society and radiates class, sophistication and nobility, and this was evident from his early years all through his recruitment from the Royal Navy into the ranks of espionage.
Craig’s Bond does not show these qualities but rather comes across as a common Joe who is playing the part of a heavy. The appeal of Bond is underscored by the fact that he is a suave individual who can bend a person to his will as easily as he can kill without mercy or regret.
While I do not like the decision to remake the franchise, I will say that the film was much better than I expected it to be and is one of the better Bonds in recent years. Here is hoping that for the next time out, the reigns are loosed on Craig so we can allow him to interpret Bond in a way that is original and fresh, yet stays true to the source material and history of the character.
Gareth von Kallenbach (971 KP) rated Miami Vice (2006) in Movies
Aug 14, 2019
In 1984 a show arrived on NBC that instantly became a media sensation and set new standards for television dramas, as well as for music and fashion as it soon became a cultural icon.
The show was Miami Vice, and up until the final episode in 1989, legions of viewers tuned in every Friday night for a heady mix of action, music, color, and sex making series stars Philip Michael Thomas and Don Johnson some of the most identified and emulated celebrities in the world.
As time passed, the fickle television audience cooled on the show and it passed to television history, but not before leaving an indelible mark upon pop culture as to this day, the mere mention of the show unleashes a flood of memories and images from fans the world over.
Now close to two decades after the show went off the air, the creative talent behind the show, Michael Mann, has unleashed a cinematic version of his hit series, and it has arrived awash in the trademark neon colors, action, and style that made the series such a hit.
This time out, Oscar winner Jaime Foxx and Colin Farrell are Tubs and Crockett respectively, and they soon find themselves deep undercover posing as drug runners while trying to get to the bottom of a leak inside one of the law enforcement agencies. As troublesome as the leak, is, the fact that leaked information caused the deaths of undercover agents, by suspected white supremacists armed with the latest in high tech weaponry.
The deadly game of cloak and dagger unfolds as Tubbs and Crockett find themselves deep into a major criminal organization, and to add to the tension, Crockett finds himself drawn to an attractive member of the organization (Li Gong), who “belongs” to the head of the criminal plot.
As the plot unfolds, the danger of being discovered as well as becoming lost in the parts they are playing becomes a growing danger for Tubbs and Crockett, as they not only battle to keep their cover, but to stay alive and protect those closest to them.
The film has a plot that is a bit muddled at first, but like the world in which Tubbs and Crockett find themselves, there are not always clearly defines parameters as well as individuals. As simplistic as the basic plot may seem, the varying layers of characters, locales, and motivations keeps Miami Vice, a changing mystery, yet one that is lacking tension and deep drama.
The first hour of the film plods along with plenty of sex and setup, but surprisingly little action. I noted that there were five scenes of sex, and at least two more implied sex scenes before one of the lead characters even fired a weapon, which surprisingly came at 1 Hour and 40 minutes into the film.
While the film may take a while to get to the action, when it does come, it is surprisingly effective without falling victim to the usual Hollywood Traps of numerous gigantic explosions, car chases, stunts, and an abundance of C.G.I.
The violence in the film is also very graphic as there are numerous headshots, as well as splatter moments and gaping exit wounds. Despite this, it does not seem gratuitous but rather realistic as it portrays the brutality of the characters as well as the world in which they live and work.
The surprisingly effective finale confrontation satisfies and like any good director, Mann knows when to pull back, and when to go full out, without letting the action dominate the characters and the story.
Farrell and Foxx do a solid job with their characters without having the luxury of a deep back story. Mann’s script takes the approach that the viewers will know the characters and their history and omits things like Crockett’s ex wife, son, houseboat and pet alligator Elvis.
While this may seem trivial for a film that is over two hours in length, it does provide viewers with a better understanding of the characters and their actions and motivations, which I hope will be fully explored should a second film in the series be made.
That being said, despite the long setup, and a somewhat muddles plot, Miami Vice is a stylish and refreshing film, that should entertain fans of the original show.
The show was Miami Vice, and up until the final episode in 1989, legions of viewers tuned in every Friday night for a heady mix of action, music, color, and sex making series stars Philip Michael Thomas and Don Johnson some of the most identified and emulated celebrities in the world.
As time passed, the fickle television audience cooled on the show and it passed to television history, but not before leaving an indelible mark upon pop culture as to this day, the mere mention of the show unleashes a flood of memories and images from fans the world over.
Now close to two decades after the show went off the air, the creative talent behind the show, Michael Mann, has unleashed a cinematic version of his hit series, and it has arrived awash in the trademark neon colors, action, and style that made the series such a hit.
This time out, Oscar winner Jaime Foxx and Colin Farrell are Tubs and Crockett respectively, and they soon find themselves deep undercover posing as drug runners while trying to get to the bottom of a leak inside one of the law enforcement agencies. As troublesome as the leak, is, the fact that leaked information caused the deaths of undercover agents, by suspected white supremacists armed with the latest in high tech weaponry.
The deadly game of cloak and dagger unfolds as Tubbs and Crockett find themselves deep into a major criminal organization, and to add to the tension, Crockett finds himself drawn to an attractive member of the organization (Li Gong), who “belongs” to the head of the criminal plot.
As the plot unfolds, the danger of being discovered as well as becoming lost in the parts they are playing becomes a growing danger for Tubbs and Crockett, as they not only battle to keep their cover, but to stay alive and protect those closest to them.
The film has a plot that is a bit muddled at first, but like the world in which Tubbs and Crockett find themselves, there are not always clearly defines parameters as well as individuals. As simplistic as the basic plot may seem, the varying layers of characters, locales, and motivations keeps Miami Vice, a changing mystery, yet one that is lacking tension and deep drama.
The first hour of the film plods along with plenty of sex and setup, but surprisingly little action. I noted that there were five scenes of sex, and at least two more implied sex scenes before one of the lead characters even fired a weapon, which surprisingly came at 1 Hour and 40 minutes into the film.
While the film may take a while to get to the action, when it does come, it is surprisingly effective without falling victim to the usual Hollywood Traps of numerous gigantic explosions, car chases, stunts, and an abundance of C.G.I.
The violence in the film is also very graphic as there are numerous headshots, as well as splatter moments and gaping exit wounds. Despite this, it does not seem gratuitous but rather realistic as it portrays the brutality of the characters as well as the world in which they live and work.
The surprisingly effective finale confrontation satisfies and like any good director, Mann knows when to pull back, and when to go full out, without letting the action dominate the characters and the story.
Farrell and Foxx do a solid job with their characters without having the luxury of a deep back story. Mann’s script takes the approach that the viewers will know the characters and their history and omits things like Crockett’s ex wife, son, houseboat and pet alligator Elvis.
While this may seem trivial for a film that is over two hours in length, it does provide viewers with a better understanding of the characters and their actions and motivations, which I hope will be fully explored should a second film in the series be made.
That being said, despite the long setup, and a somewhat muddles plot, Miami Vice is a stylish and refreshing film, that should entertain fans of the original show.