Search
Search results
BankofMarquis (1832 KP) rated Sound of Metal (2019) in Movies
Mar 22, 2021
Rooted in Humanity
SOUND OF METAL has a pretty simple “one-line summary”: Heavy Metal Drummer deals with going deaf. But is it the humanity at the center of this film that makes it worthwhile.
Written and Directed by Darius Marder (THE PLACE BEYOND THE PINES), SOUND OF METAL tells the tale of Ruben, the drummer of the Heavy Metal Band BLACK GAMMON, who must come to terms with suddenly losing most of his hearing.
Starring Riz Ahmed - in an Oscar nominated turn - SOUND OF METAL follows Ruben’s journey as he comes to terms with the wrinkle that his life has thrown at him and the silence makes him study the non-stillness inside of him.
This all sounds like it could be corny, right? Well…under the guidance of Marder and with a central performance that is grounded and real by Ahmed, it is anything but. This film finds itself in it’s humanity and the very real, personal interactions.
Credit must start with the performance of Ahmed (heretofore known to me as Bodhi Rook in STAR WARS: ROGUE ONE), he is in almost every scene in the film and he must bring a vulnerability to the screen for the audience to care about him - and he accomplishes this in spades. Even when his character makes mistakes (and, trust me, he makes a TON of them), you end up rooting for him to succeed.
Paul Raci was nominated for a Best Supporting Actor Oscar for his portrayal of Joe, the head of the Deaf Community for Addicts that Ruben eventually goes to. His turn is also grounded in the reality - the reality of addicts who have yet another twist in their life thrown at them. Raci has a road-weary look to him and gives off an aura of someone who has seen - and heard - it all, so must take a “tough love” approach. This performance works very well.
Also strong in this film is Olivia Cooke (READY PLAYER ONE) as Lou, Ruben’s girlfriend/lead singer of the Metal Band they are in. She must make some tough decisions in the course of this film - and you end up emotionally engaged in her story as well. Both Ruben and Lou are good people at heart that must make hard choices, you root for both of them to succeed even though, through these choices, pain and suffering and separation must occur.
All of this sounds good, but there has been many a film that falters under the “good intentions” of it’s Director/Screenwriter, but SOUND OF METAL avoids most of the pitfalls of these types of films by not dwelling too much on the pain and suffering of the leads - it’s there, but (as Joe would say), deal with it. I’m a little surprised that Marder did not get a Best Director Oscar nod (the work is that good), but am glad that he did get an Original Screenplay nomination.
And…as you can imagine…a film about Deafness is reliant on the Sound Design to help bring that aspect of Ruben’s experience to the audience - and this film delivers the goods. The sound team was, rightfully, nominated for the Oscar for sound design - and they should easily win - for the sound is another character in this film and that is what, ultimately, makes this film works. The audience is put in Ruben’s shoes and, at times, are unable to hear what others on the screen are saying.
A very satisfying film experience - one that needs to be seen with no distractions (especially sound distractions), so find a quiet time, lower the shades and dive into the world of the SOUND OF METAL.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank (ofMarquis)
Written and Directed by Darius Marder (THE PLACE BEYOND THE PINES), SOUND OF METAL tells the tale of Ruben, the drummer of the Heavy Metal Band BLACK GAMMON, who must come to terms with suddenly losing most of his hearing.
Starring Riz Ahmed - in an Oscar nominated turn - SOUND OF METAL follows Ruben’s journey as he comes to terms with the wrinkle that his life has thrown at him and the silence makes him study the non-stillness inside of him.
This all sounds like it could be corny, right? Well…under the guidance of Marder and with a central performance that is grounded and real by Ahmed, it is anything but. This film finds itself in it’s humanity and the very real, personal interactions.
Credit must start with the performance of Ahmed (heretofore known to me as Bodhi Rook in STAR WARS: ROGUE ONE), he is in almost every scene in the film and he must bring a vulnerability to the screen for the audience to care about him - and he accomplishes this in spades. Even when his character makes mistakes (and, trust me, he makes a TON of them), you end up rooting for him to succeed.
Paul Raci was nominated for a Best Supporting Actor Oscar for his portrayal of Joe, the head of the Deaf Community for Addicts that Ruben eventually goes to. His turn is also grounded in the reality - the reality of addicts who have yet another twist in their life thrown at them. Raci has a road-weary look to him and gives off an aura of someone who has seen - and heard - it all, so must take a “tough love” approach. This performance works very well.
Also strong in this film is Olivia Cooke (READY PLAYER ONE) as Lou, Ruben’s girlfriend/lead singer of the Metal Band they are in. She must make some tough decisions in the course of this film - and you end up emotionally engaged in her story as well. Both Ruben and Lou are good people at heart that must make hard choices, you root for both of them to succeed even though, through these choices, pain and suffering and separation must occur.
All of this sounds good, but there has been many a film that falters under the “good intentions” of it’s Director/Screenwriter, but SOUND OF METAL avoids most of the pitfalls of these types of films by not dwelling too much on the pain and suffering of the leads - it’s there, but (as Joe would say), deal with it. I’m a little surprised that Marder did not get a Best Director Oscar nod (the work is that good), but am glad that he did get an Original Screenplay nomination.
And…as you can imagine…a film about Deafness is reliant on the Sound Design to help bring that aspect of Ruben’s experience to the audience - and this film delivers the goods. The sound team was, rightfully, nominated for the Oscar for sound design - and they should easily win - for the sound is another character in this film and that is what, ultimately, makes this film works. The audience is put in Ruben’s shoes and, at times, are unable to hear what others on the screen are saying.
A very satisfying film experience - one that needs to be seen with no distractions (especially sound distractions), so find a quiet time, lower the shades and dive into the world of the SOUND OF METAL.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank (ofMarquis)
Kirk Bage (1775 KP) rated Apollo 11 (2019) in Movies
Jan 22, 2021
This extraordinary documentary exploring the build up, launch and landing of the most famous mission in NASA history, and arguably the pinnacle of human space exploration to date, is a mesmeric and unique experience like no other factual film you have ever seen. You can find it tucked away on Netflix, and I urge you to do so if you ever found yourself wondering for one minute about the moon landing of ’69 and what all the fuss was about.
Director Todd Douglas Miller makes the bold choice to do away with all narrative, cutaway interviews and commentaries, and just shows you what happened in gorgeous detail, with a kind of retro super 8 camera vibe, and a very evocative sountrack. The degree of unseen footage of the entire project is jaw-dropping, especially if there is something of a science or even science fiction geek within you.
Some of what you see and hear is, of course, so iconic that when you see or hear them you feel a sense of deja vu that feels like a dream in the context of the full story. The rest is so amazing to contemplate as something that humanity actually achieved that it is tempting to see it as an odd retro sci-fi movie with quite bad effects and a dull plot; the control room, suits, the rocket itself, the sense of endless patience, anticipation and waiting – you just wouldn’t believe it would work if it was a fiction.
At several points I found myself reminding myself that it wasn’t a fiction, and then marvelling at the entire world that existed at the end of the 60s, and how so essentially different it was, and how ancient it feels now. I wasn’t quite born when all this happened, but it has been very much in my imagination all my life. I wanted to be an astronaut, as did most other kids in the Star Wars era of the late 70s and early 80s, and I only really gave up when I realised that meant being as smart and dedicated as Neil Armstrong and not as reckless and cool as Han Solo. Now I am older, I can appreciate things about it that I never could, and in understanding Human history, it is a riveting chapter.
What we see in this film is how detail and hard work and maths and safety precautions and thousands of team members made this happen. Every nut and bolt, and every drop of sweat and fuel is counted, recounted and considered. At times it seems mundane and without drama, boring even, and then the sheer scale of acheivement and wonder overtakes you as you catch yourself realising how incredible it was that any of this was done at all.
There is no political overtone or background here, no conspiracy theory, no other voice questioning the economic impact or wisdom of the entire endeavour, just a childlike but serious minded wonder at doing something because we could if we set our minds to it. And for that it has a beauty and transcendent elegance that rarely accompanies the subject. By the end, there is really only one word to describe the fact that over 50 years ago three men looked down on the Earthrise and beheld every other living thing in existence in one glance. And that word is: wow!
It is slow, for sure, but only because we have become used to pace and forced drama, from our fictions and our documentaries. Apollo 11 won’t be for everyone in that case, and may even be fairly called dull by some who can’t relate to it in any way. For me it was a trance like epiphany I can’t forget. Highly recommended if you are looking for something fascinating, educational and thought provoking out of your comfort zone and out of this world!
Director Todd Douglas Miller makes the bold choice to do away with all narrative, cutaway interviews and commentaries, and just shows you what happened in gorgeous detail, with a kind of retro super 8 camera vibe, and a very evocative sountrack. The degree of unseen footage of the entire project is jaw-dropping, especially if there is something of a science or even science fiction geek within you.
Some of what you see and hear is, of course, so iconic that when you see or hear them you feel a sense of deja vu that feels like a dream in the context of the full story. The rest is so amazing to contemplate as something that humanity actually achieved that it is tempting to see it as an odd retro sci-fi movie with quite bad effects and a dull plot; the control room, suits, the rocket itself, the sense of endless patience, anticipation and waiting – you just wouldn’t believe it would work if it was a fiction.
At several points I found myself reminding myself that it wasn’t a fiction, and then marvelling at the entire world that existed at the end of the 60s, and how so essentially different it was, and how ancient it feels now. I wasn’t quite born when all this happened, but it has been very much in my imagination all my life. I wanted to be an astronaut, as did most other kids in the Star Wars era of the late 70s and early 80s, and I only really gave up when I realised that meant being as smart and dedicated as Neil Armstrong and not as reckless and cool as Han Solo. Now I am older, I can appreciate things about it that I never could, and in understanding Human history, it is a riveting chapter.
What we see in this film is how detail and hard work and maths and safety precautions and thousands of team members made this happen. Every nut and bolt, and every drop of sweat and fuel is counted, recounted and considered. At times it seems mundane and without drama, boring even, and then the sheer scale of acheivement and wonder overtakes you as you catch yourself realising how incredible it was that any of this was done at all.
There is no political overtone or background here, no conspiracy theory, no other voice questioning the economic impact or wisdom of the entire endeavour, just a childlike but serious minded wonder at doing something because we could if we set our minds to it. And for that it has a beauty and transcendent elegance that rarely accompanies the subject. By the end, there is really only one word to describe the fact that over 50 years ago three men looked down on the Earthrise and beheld every other living thing in existence in one glance. And that word is: wow!
It is slow, for sure, but only because we have become used to pace and forced drama, from our fictions and our documentaries. Apollo 11 won’t be for everyone in that case, and may even be fairly called dull by some who can’t relate to it in any way. For me it was a trance like epiphany I can’t forget. Highly recommended if you are looking for something fascinating, educational and thought provoking out of your comfort zone and out of this world!
Bob Mann (459 KP) rated American Made (2017) in Movies
Sep 29, 2021
Cruise Flying High Again.
If you ask anyone to list the top 10 film actors, chance is that “Tom Cruise” would make many people’s lists. He’s in everything isn’t he? Well, actually, no. Looking at his imdb history, he’s only averaged just over a movie per year for several years. I guess he’s just traditionally made a big impact with the films he’s done. This all rather changed in the last year with his offerings of the rather lacklustre “Jack Reacher: Never Go Back” (FFF) and the pretty dreadful “The Mummy” (Ff) as one of this summer’s big blockbuster disappointments. So Thomas Cruise Mapother IV was sorely in need of a upward turn and fortunately “American Made” delivers in spades.
A quick stop in Nicaragua to pick up some paperwork from Noriega.
“Based on a True Story” this is a biopic on the life of Barry Seal, a hot shot ‘maverick’ (pun intended) TWA pilot who gets drawn into a bizarre but highly lucrative spiral of gun- and drug-running to and from Central America at the behest of a CIA operative Monty Schafer (Domhnall Gleeson). All this is completely mystifying to Barry’s wife Lucy (Sarah Wright) who is, at least not initially, allowed to be ‘in’ on the covert activities.
Flying high over Latin America.
The film is a roller-coaster ride of unbelievable action from beginning to end. In the same manner as you might have thought “that SURELY can’t be true” when watching Spielberg’s “Catch Me If You Can”, this thought constantly flits through your mind. At each turn Seal can’t believe his luck, and Cruise brilliantly portrays the wide-eyed astonishment required. This is a role made for him.
Also delivering his best performance in years is Domhnall Gleeson (“Ex Machina“, “Star Wars: The Force Awakens“) as the CIA man with the (whacky) plan. Large chunks of the film are powered by his manic grin.
Domhnall Gleeson as the CIA man with a sense of Contra-rhythm.
As an actress, Sarah Wright is new to me but as well as being just stunningly photogenic she works with Cruise really well (despite being 20 years his junior – not wanting to be ageist, but this is the second Cruise film in a row I’ve pointed that out!)). Wright also gets my honourary award for the best airplane sex scene this decade!
“Time to pack honey”. Seal (Cruise) delivering a midnight surprise to wife Lucy (Sarah Wright) – and not in a good way.
Written by Gary Spinelli (this being only his second feature) the script is full of wit and panache and – while almost certainly (judging from wiki) stretches the truth as far as Seal’s cash-storage facilities – never completely over-eggs the pudding.
Doug Liman (“Jason Bourne“, “Edge of Tomorrow“) directs brilliantly, giving space among the action for enough character development to make you invest in what happens to the players. The 80’s setting is lovingly crafted with a garish colour-palette with well-chosen documentary video inserts of Carter, Reagan, Oliver Stone, George Bush and others. It also takes really chutzpah to direct a film that (unless I missed it) had neither a title nor any credits until the end.
The real Barry Seal.
The only vaguely negative view I had about this film is that it quietly glosses over the huge pain, death and suffering that the smuggled drugs will be causing to thousands of Americans under the covers. And this mildly guilty thought lingers with you after the lights come up to slightly – just slightly – take the edge off the fun.
Stylish, thrilling, moving and enormously funny in places, this is action cinema at its best. A must see film.
A quick stop in Nicaragua to pick up some paperwork from Noriega.
“Based on a True Story” this is a biopic on the life of Barry Seal, a hot shot ‘maverick’ (pun intended) TWA pilot who gets drawn into a bizarre but highly lucrative spiral of gun- and drug-running to and from Central America at the behest of a CIA operative Monty Schafer (Domhnall Gleeson). All this is completely mystifying to Barry’s wife Lucy (Sarah Wright) who is, at least not initially, allowed to be ‘in’ on the covert activities.
Flying high over Latin America.
The film is a roller-coaster ride of unbelievable action from beginning to end. In the same manner as you might have thought “that SURELY can’t be true” when watching Spielberg’s “Catch Me If You Can”, this thought constantly flits through your mind. At each turn Seal can’t believe his luck, and Cruise brilliantly portrays the wide-eyed astonishment required. This is a role made for him.
Also delivering his best performance in years is Domhnall Gleeson (“Ex Machina“, “Star Wars: The Force Awakens“) as the CIA man with the (whacky) plan. Large chunks of the film are powered by his manic grin.
Domhnall Gleeson as the CIA man with a sense of Contra-rhythm.
As an actress, Sarah Wright is new to me but as well as being just stunningly photogenic she works with Cruise really well (despite being 20 years his junior – not wanting to be ageist, but this is the second Cruise film in a row I’ve pointed that out!)). Wright also gets my honourary award for the best airplane sex scene this decade!
“Time to pack honey”. Seal (Cruise) delivering a midnight surprise to wife Lucy (Sarah Wright) – and not in a good way.
Written by Gary Spinelli (this being only his second feature) the script is full of wit and panache and – while almost certainly (judging from wiki) stretches the truth as far as Seal’s cash-storage facilities – never completely over-eggs the pudding.
Doug Liman (“Jason Bourne“, “Edge of Tomorrow“) directs brilliantly, giving space among the action for enough character development to make you invest in what happens to the players. The 80’s setting is lovingly crafted with a garish colour-palette with well-chosen documentary video inserts of Carter, Reagan, Oliver Stone, George Bush and others. It also takes really chutzpah to direct a film that (unless I missed it) had neither a title nor any credits until the end.
The real Barry Seal.
The only vaguely negative view I had about this film is that it quietly glosses over the huge pain, death and suffering that the smuggled drugs will be causing to thousands of Americans under the covers. And this mildly guilty thought lingers with you after the lights come up to slightly – just slightly – take the edge off the fun.
Stylish, thrilling, moving and enormously funny in places, this is action cinema at its best. A must see film.
Bob Mann (459 KP) rated The Greatest Showman (2017) in Movies
Sep 29, 2021
This IS the Greatest Show!
I sometimes wonder how “proper” UK film critics view films early for review. Is there a ‘special screening’ which all the film critics attend in London? The point I’m getting at is whether the collective critical opinion of a movie can be swayed by a critic leaping to their feet and wildly applauding a film like “Star Wars: The Last Jedi” or, alternatively, snorting in derision at a film like “The Greatest Showman”. For sometimes the critics seem to get it massively wrong across the board, panning a film that the general public will adore. Unfortunately, this has the effect of putting the general public off seeing it, especially in the lethargic post-Christmas period. I think here is a case in point. It’s not the best little film in the world, but as a musical crowd-pleaser it delivers in spades.
Will you like “The Greatest Showman”? This will be dictated almost entirely by whether you are a “musicals” person or not! For “The Greatest Showman” is a frothy, very loud, cheesy and high-energy musical, much more aligned, in fact, to the mainstream genre from the 40’s and 50’s than “La La Land” was.
Roll up, roll up. The circus cast entertain.
In a VERY loose interpretation of the early life of Phineas Taylor Barnum, the American huckster and impressario, we start the story with a pre-pubescent Barnum (Ellis Rubin, sung by Ziv Zaifman) as a young tailor’s assistant punching above his weight with young socialite Charity (Skylar Dunn), firmly against the wishes of her father. Spin forward (via song) and the hitched Barnum’s – now Hugh Jackman (“Logan“) and Michelle Williams (“Manchester By The Sea“) – are barely scraping a living. But Barnum has “A Million Dreams” and hits on the novel idea of opening an entertainment (coined “a circus” by journalist James Gordon Bennett (Paul Sparks)) where he offers both respect and a family to those of the city who are deformed, rejected and socially shunned. Barnum’s show is shockingly entertaining – as in both filling seats and shocking the morally-self-righteous upper classes. But never one to rest on his laurels, Barnum’s endless ambition drives him to break his social ceiling by importing the “Swedish songbird”, opera singer Jenny Lind (Rebecca Ferguson, “Mission Impossible: Rogue Nation“, “The Snowman“) ), for an ambitious and extravegant tour of the States. All does not exactly go to plan.
Washing day tunes. Hugh Jackman and Michelle Williams take to the rooftops.
As I’ve said, most critics have been making sniffy noises about this film. But I am not one of them…. I LOVED IT, have already bought the glorious soundtrack album and will be looking forwards to the DVD release. For this is joy in a box. Sure, the story is a bit weak, the characterisations of everyone (other than Barnum) pretty lightweight, but it’s a musical extravaganza! Live with it!
Hugh Jackman, who of course started his career in stage musicals, is marvellously charismatic as Barnum although his singing does tend to the “shouty” end of the scale in many of the numbers. He’s joined here by fellow musicals star Zac Efron (let’s forget “Dirty Grandpa“) as the fictitious Phillip Carlyle: a socialite playwright and partner.
But the acting and singing revelation for me was Zendaya (“Spider-Man: Homecoming“) as Efron’s (scandalous) inter-racial love interest, who has a fantastically athletic body, sings and dances wonderfully and has a magnetic stare. A marvellous trapeze routine between Efron and Zendaya (“Rewrite The Stars”) is one of the high-spots of the film for me.
An energetic dance. Zendaya and Efron take to the skies.
Elsewhere Williams proves she has a singing voice as well as being a top flight actress and the bearded lady (Broadway star Keala Settle) belts out one of the show-stopping numbers “This is Me” (although she is a little ‘shrill’ for my musical tastes).
It would be nice to extend that compliment to the wonderful Rebecca Ferguson as the “greatest singer in the world” – but she is (wisely I think) dubbed here by Loren Allred (a finalist on the US version of “The Voice”). It is a bit of a shock when “the great opera singer” opens her mouth and a modern love song comes out, but once you get over that then the combination of Ferguson’s acting and Allred’s singing makes “Never Enough” one of the standout songs in the movie. (It’s been described as “a bit Eurovision” by Kevin Maher, “The Times” critic, which I can see but I don’t care! I find it marvellously moving).
A dangerous songbird’s nest for the married Barnum. Rebecca Ferguson and Hugh Jackman.
If you haven’t guessed it, there are some fantastic songs in this movie, written by “La La Land” song composers Benj Pasek and Justin Paul and at least one of these surely must be Oscar nominated (I’m not sure what the cut-off would be for the 2018 Oscars?).
There’s also a lot of talent in the backroom with production design and memorable costumes. Where I’d single out particular praise though is in the choreography and the editing on show.
Firstly, the choreography of “beats” in the song to the action on screen is brilliantly done, done, probably at its most impressive in a shot-glass bar-room scene between Jackman and Efron. And never (hats off to the special effects guys and cinematographer Seamus McGarvey) have you seen washing on a washing line so cleverly in time with the music.
Secondly in terms of the film editing, I am a sucker for clever “transition” shots, and there are some in this movie that just took my breath away: a transition to a pregnant Charity; a transition from ballet practice to ballet performance; there are numerous others!
Inverted magnetism. Zendaya as the trapeze artist Anne Wheeler.
I have decided to park some of my minor criticisms within the greater joy of the whole: some of the dialogue (by Jenny Bicks and Bill Condon) is as cheesy as hell, but probably no more so than in some of the Judy Garland/Mickey Rooney musicals. Where I had my biggest problem is in some of the lip synching to the songs. This is an age where the live recording of songs in films like “Les Miserables” and “La La Land” has set the bar high, and returning to the norm (I had the same problem with “Beauty and the Beast“) becomes noticeable and irritating to me. (Perhaps this is just me!).
It’s certainly not a perfect film, but its energy and drive carry it through as a memorable movie musical that may well take on a life of its own as word-of-mouth gets it more widely viewed (outside of the rather difficult Christmas holiday season). It would also be a good film for youngsters, with a bit of judicious editing (there is one moment of violence in the first 10 minutes that I would choose to edit out). From my perspective it is certainly a truly impressive debut for advert director Michael Gracey. Recommended for musical fans.
Will you like “The Greatest Showman”? This will be dictated almost entirely by whether you are a “musicals” person or not! For “The Greatest Showman” is a frothy, very loud, cheesy and high-energy musical, much more aligned, in fact, to the mainstream genre from the 40’s and 50’s than “La La Land” was.
Roll up, roll up. The circus cast entertain.
In a VERY loose interpretation of the early life of Phineas Taylor Barnum, the American huckster and impressario, we start the story with a pre-pubescent Barnum (Ellis Rubin, sung by Ziv Zaifman) as a young tailor’s assistant punching above his weight with young socialite Charity (Skylar Dunn), firmly against the wishes of her father. Spin forward (via song) and the hitched Barnum’s – now Hugh Jackman (“Logan“) and Michelle Williams (“Manchester By The Sea“) – are barely scraping a living. But Barnum has “A Million Dreams” and hits on the novel idea of opening an entertainment (coined “a circus” by journalist James Gordon Bennett (Paul Sparks)) where he offers both respect and a family to those of the city who are deformed, rejected and socially shunned. Barnum’s show is shockingly entertaining – as in both filling seats and shocking the morally-self-righteous upper classes. But never one to rest on his laurels, Barnum’s endless ambition drives him to break his social ceiling by importing the “Swedish songbird”, opera singer Jenny Lind (Rebecca Ferguson, “Mission Impossible: Rogue Nation“, “The Snowman“) ), for an ambitious and extravegant tour of the States. All does not exactly go to plan.
Washing day tunes. Hugh Jackman and Michelle Williams take to the rooftops.
As I’ve said, most critics have been making sniffy noises about this film. But I am not one of them…. I LOVED IT, have already bought the glorious soundtrack album and will be looking forwards to the DVD release. For this is joy in a box. Sure, the story is a bit weak, the characterisations of everyone (other than Barnum) pretty lightweight, but it’s a musical extravaganza! Live with it!
Hugh Jackman, who of course started his career in stage musicals, is marvellously charismatic as Barnum although his singing does tend to the “shouty” end of the scale in many of the numbers. He’s joined here by fellow musicals star Zac Efron (let’s forget “Dirty Grandpa“) as the fictitious Phillip Carlyle: a socialite playwright and partner.
But the acting and singing revelation for me was Zendaya (“Spider-Man: Homecoming“) as Efron’s (scandalous) inter-racial love interest, who has a fantastically athletic body, sings and dances wonderfully and has a magnetic stare. A marvellous trapeze routine between Efron and Zendaya (“Rewrite The Stars”) is one of the high-spots of the film for me.
An energetic dance. Zendaya and Efron take to the skies.
Elsewhere Williams proves she has a singing voice as well as being a top flight actress and the bearded lady (Broadway star Keala Settle) belts out one of the show-stopping numbers “This is Me” (although she is a little ‘shrill’ for my musical tastes).
It would be nice to extend that compliment to the wonderful Rebecca Ferguson as the “greatest singer in the world” – but she is (wisely I think) dubbed here by Loren Allred (a finalist on the US version of “The Voice”). It is a bit of a shock when “the great opera singer” opens her mouth and a modern love song comes out, but once you get over that then the combination of Ferguson’s acting and Allred’s singing makes “Never Enough” one of the standout songs in the movie. (It’s been described as “a bit Eurovision” by Kevin Maher, “The Times” critic, which I can see but I don’t care! I find it marvellously moving).
A dangerous songbird’s nest for the married Barnum. Rebecca Ferguson and Hugh Jackman.
If you haven’t guessed it, there are some fantastic songs in this movie, written by “La La Land” song composers Benj Pasek and Justin Paul and at least one of these surely must be Oscar nominated (I’m not sure what the cut-off would be for the 2018 Oscars?).
There’s also a lot of talent in the backroom with production design and memorable costumes. Where I’d single out particular praise though is in the choreography and the editing on show.
Firstly, the choreography of “beats” in the song to the action on screen is brilliantly done, done, probably at its most impressive in a shot-glass bar-room scene between Jackman and Efron. And never (hats off to the special effects guys and cinematographer Seamus McGarvey) have you seen washing on a washing line so cleverly in time with the music.
Secondly in terms of the film editing, I am a sucker for clever “transition” shots, and there are some in this movie that just took my breath away: a transition to a pregnant Charity; a transition from ballet practice to ballet performance; there are numerous others!
Inverted magnetism. Zendaya as the trapeze artist Anne Wheeler.
I have decided to park some of my minor criticisms within the greater joy of the whole: some of the dialogue (by Jenny Bicks and Bill Condon) is as cheesy as hell, but probably no more so than in some of the Judy Garland/Mickey Rooney musicals. Where I had my biggest problem is in some of the lip synching to the songs. This is an age where the live recording of songs in films like “Les Miserables” and “La La Land” has set the bar high, and returning to the norm (I had the same problem with “Beauty and the Beast“) becomes noticeable and irritating to me. (Perhaps this is just me!).
It’s certainly not a perfect film, but its energy and drive carry it through as a memorable movie musical that may well take on a life of its own as word-of-mouth gets it more widely viewed (outside of the rather difficult Christmas holiday season). It would also be a good film for youngsters, with a bit of judicious editing (there is one moment of violence in the first 10 minutes that I would choose to edit out). From my perspective it is certainly a truly impressive debut for advert director Michael Gracey. Recommended for musical fans.
Becs (244 KP) rated Beasts of the Frozen Sun in Books
Sep 22, 2019
The plot - so bloody action-packed that leaves you exhausted at times (3 more)
The Villain - makes you want to fall in love with him but then he does something terrible and you want to dismiss him
The enemies to lovers - the MC's are everything
The writing - Jill Criswell does an amazing job with descriptive text and lyrical writing. I was enthralled throughout.
This book is so underrated and it deserves all the hype!
You can also find this review on my blog: bookingwayreads.wordpress.com
TRIGGER WARNINGS: war, violence, blood, gore, talk of sexual assault, child abuse, emotional abuse, animal violence, animal sacrifice, death of an animal, anger issues, arsony, death, murder, talk of drowning, absent parent, death of a parent, disowning, forced marriage, death of a sibling, manipulation, mind control, slavery, starvation, torture, trauma
REVIEW: First off, I want to say to not let all of those trigger warnings deter you from reading this breathtaking novel. Beasts of the Frozen Sun was extremely well-written and I will keep screaming this from the rooftops for as long as I am alive of how amazing this novel is.
Beasts of the Frozen Sun is loaded with badassery and brutally epic scenes. Also, that cover is one of the most beautiful covers I’ve ever seen. There was complexity to the world-building, relatable characters that you just can’t help but fall in love with, brutal wars and men as monstrous as some of the men in the world today. This fantasy novel was defiantly on the darker side, but it D E L I V E R E D ! And it delivered an immersive read that drowned you in the world until the very end.
Beasts of the Frozen Sun follows Lira, the heroine who is gifted from the gods and goddess’. This gift, the ability to read a person’s soul by just touching their chest, was used by others – mainly Lira’s father and uncle. But then a golden-haired giant washes ashore and Lira decides to help him heal. She hides him away and the two of them grow close, forming a bond that is forbidden by both of their clans. But then, the Dragon comes into the story and Lira is left fighting for her life, Reyker’s soul, and her people’s freedom.
Things I loved about Beasts of the Frozen Sun:
1. The main character being a badass heroine who gets angry when her sword is taken from her.
2. The love interest being a tough “bad boy” on the outside, but deep down he’s a big ole softie.
3. Gods/Goddess’ that walk the Earth with humans (even sometimes messing with them)
4. Magical powers that were once used for evil but now are used for good.
5. The whole ‘pretend to be sick so we can get close’ ordeal.
“Looking into his eyes was like gazing at the ocean – swirling shades of deep cobalt and steel gray. Fathomless. Familiar.”
When each of the characters were introduced, I was amazed at how spectacular, unique, and so very strong each of them were! Lira and Reyker’s bond was intense and absolutely addictive. They are literally EVERYTHING. The two are star-crossed lovers but also enemies to lovers and I NEED MORE OF THEM.
The world is out to keep them apart but the two are magnets. And nothing can keep them apart for very long, not even the world no matter how hard it tries too. Reyker is the beast. He was saved from drowning by Lira, who helped him heal by hiding him away. She teaches him her language and she stands by his side. Even when the rest of the world has chewed him up and spit him back out.
Lira battles with being used and caged. She hates feeling like “property” by her father and uncle. She also refuses to believe that Reyker isn’t worth saving. She is one badass heroine and I strive to be her. Smash these two together and you get one powerful couple!
I also want to take a moment to say that Quinlan has my heart and I need to see more of him in book 2 please dear author! I will pay you in my tears and heart if I have too.
“If I die in a cage tomorrow, or I die in a cage in ten years – what is the difference? A cage is not a life.”
The world-building in Beasts of the Frozen Sun was… OMG seriously some of the best I’ve ever read. With history, there is always brutality and this novel does include that. Death, torture, the treatment of woman were all horrible and at times a bit hard to read but Jill Criswell has such raw talent at describing things that she does an amazing job writing those style of scenes. And with this being a story set back in history, those themes are inevitable. But each theme included, made Beasts of the Frozen Sun seem more and more realistic with each passing page.
The plot of this novel is everything!! Wars to villages raids to snuggles between Lira and Reyker. There was never a boring moment within Beasts of the Frozen Sun. It was packed with so much intensity that at times, it left you a bit exhausted. The plot was also dark and brutal but it fit with the story. This was a bloody amazing action-packed novel of magic and redemption, high stakes and brutal fights, powerful woman and monstrous men.
I am on my first ever book hangover. That ending… Jill Criswell is a cruel woman to leave me hanging in the way she did. But OHMAGAWD, I CAN NOT WAIT for book two of this series. Please, if you only ever pick up one book that I recommend, please please please pick this amazing novel up!
“When that dark womb of stillness engulfed him, he embraced it with a flood of relief. Reyker welcomed whatever torments waited him on the other side of this world, knowing it was nothing less than he deserved.”
TRIGGER WARNINGS: war, violence, blood, gore, talk of sexual assault, child abuse, emotional abuse, animal violence, animal sacrifice, death of an animal, anger issues, arsony, death, murder, talk of drowning, absent parent, death of a parent, disowning, forced marriage, death of a sibling, manipulation, mind control, slavery, starvation, torture, trauma
REVIEW: First off, I want to say to not let all of those trigger warnings deter you from reading this breathtaking novel. Beasts of the Frozen Sun was extremely well-written and I will keep screaming this from the rooftops for as long as I am alive of how amazing this novel is.
Beasts of the Frozen Sun is loaded with badassery and brutally epic scenes. Also, that cover is one of the most beautiful covers I’ve ever seen. There was complexity to the world-building, relatable characters that you just can’t help but fall in love with, brutal wars and men as monstrous as some of the men in the world today. This fantasy novel was defiantly on the darker side, but it D E L I V E R E D ! And it delivered an immersive read that drowned you in the world until the very end.
Beasts of the Frozen Sun follows Lira, the heroine who is gifted from the gods and goddess’. This gift, the ability to read a person’s soul by just touching their chest, was used by others – mainly Lira’s father and uncle. But then a golden-haired giant washes ashore and Lira decides to help him heal. She hides him away and the two of them grow close, forming a bond that is forbidden by both of their clans. But then, the Dragon comes into the story and Lira is left fighting for her life, Reyker’s soul, and her people’s freedom.
Things I loved about Beasts of the Frozen Sun:
1. The main character being a badass heroine who gets angry when her sword is taken from her.
2. The love interest being a tough “bad boy” on the outside, but deep down he’s a big ole softie.
3. Gods/Goddess’ that walk the Earth with humans (even sometimes messing with them)
4. Magical powers that were once used for evil but now are used for good.
5. The whole ‘pretend to be sick so we can get close’ ordeal.
“Looking into his eyes was like gazing at the ocean – swirling shades of deep cobalt and steel gray. Fathomless. Familiar.”
When each of the characters were introduced, I was amazed at how spectacular, unique, and so very strong each of them were! Lira and Reyker’s bond was intense and absolutely addictive. They are literally EVERYTHING. The two are star-crossed lovers but also enemies to lovers and I NEED MORE OF THEM.
The world is out to keep them apart but the two are magnets. And nothing can keep them apart for very long, not even the world no matter how hard it tries too. Reyker is the beast. He was saved from drowning by Lira, who helped him heal by hiding him away. She teaches him her language and she stands by his side. Even when the rest of the world has chewed him up and spit him back out.
Lira battles with being used and caged. She hates feeling like “property” by her father and uncle. She also refuses to believe that Reyker isn’t worth saving. She is one badass heroine and I strive to be her. Smash these two together and you get one powerful couple!
I also want to take a moment to say that Quinlan has my heart and I need to see more of him in book 2 please dear author! I will pay you in my tears and heart if I have too.
“If I die in a cage tomorrow, or I die in a cage in ten years – what is the difference? A cage is not a life.”
The world-building in Beasts of the Frozen Sun was… OMG seriously some of the best I’ve ever read. With history, there is always brutality and this novel does include that. Death, torture, the treatment of woman were all horrible and at times a bit hard to read but Jill Criswell has such raw talent at describing things that she does an amazing job writing those style of scenes. And with this being a story set back in history, those themes are inevitable. But each theme included, made Beasts of the Frozen Sun seem more and more realistic with each passing page.
The plot of this novel is everything!! Wars to villages raids to snuggles between Lira and Reyker. There was never a boring moment within Beasts of the Frozen Sun. It was packed with so much intensity that at times, it left you a bit exhausted. The plot was also dark and brutal but it fit with the story. This was a bloody amazing action-packed novel of magic and redemption, high stakes and brutal fights, powerful woman and monstrous men.
I am on my first ever book hangover. That ending… Jill Criswell is a cruel woman to leave me hanging in the way she did. But OHMAGAWD, I CAN NOT WAIT for book two of this series. Please, if you only ever pick up one book that I recommend, please please please pick this amazing novel up!
“When that dark womb of stillness engulfed him, he embraced it with a flood of relief. Reyker welcomed whatever torments waited him on the other side of this world, knowing it was nothing less than he deserved.”
Bob Mann (459 KP) rated Jumanji: Welcome to the Jungle (2017) in Movies
Sep 29, 2021
The most fun you can have with Jack Black’s penis.
In 1995, Joe Johnston (“The Rocketeer”, “Captain America: The First Avenger”) directed “Jumanji” – a quirky, fantastical and dark film starring the late, great Robin Williams that got a rough critical reception at the time of release, but was embraced by the public and has gone on to be a modern classic. So when it was announced that a sequel was in the works 22 years later, my first reaction was “Oh no… is nothing sacred?”. It’s fair to say that I went into this flick with extremely low expectations.
But I have to say that – given this low base – I was pleasantly surprised. It’s actually quite a fun fantasy film that I predict that older kids will adore.
Seriously kick-ass. Karen Gillan – or rather one of her stunt doubles – gets hands… er… feet on with an aggressive level-character.
Initially set (neatly) in 1995, a teen – Alex (Nick Jonas, of the Jonas Brothers) unearths the board game Jumanji where it ended up buried in beach-sand at the end of the last film. “Who plays board games any more?” he scoffs, which the game hears and morphs into a game cartridge. Cheesy? Yes, but no more crazy than the goings on of the first film. Back in 2017, four high-school teens – geeky Spencer (Alex Wolff, “Patriot’s Day“); sports-jock Fridge (Ser’Darius Blain); self-obsessed beauty Bethany (Madison Iseman); and self-conscious, nerdy and shy Martha (Morgan Turner) – find the game and are sucked into it, having to complete all the game levels before they can escape.
Bethany (Madison Iseman) wishing she had her phone out for a selfie of this.
But they are not themselves in the game; they adopt the Avatars they chose to play: Dr Bravestone (Dwayne Johnson, “San Andreas“); Moose Finbar (Kevin Hart, “Get Hard“); Ruby Roundhouse (Karen Gillan, “Dr Who”, “The Circle“; “Guardians of the Galaxy“); and Professor Shelly Oberon (Jack Black, “Sex Tape“, “Kong”). Can they combine their respective game talents – and suppress the human mental baggage they brought with them – to escape the game?
Avatars all. Kevin Hart, Dwayne Johnson, Karen Gillan and Jack Black.
There was a really dark time-travelling angle to the storyline of the original film – the traumatic start of Disney’s “Flight of the Navigator” was perhaps also borrowed from the concept in the book by Chris Van Allsburg. An attempt is made to recreate this in the sequel. I felt the first film rather pulled its punches though in favour of a Hollywood happy ending: will this be the case this time?
The film delivers laughs, but in a rather inconsistent fashion – it is mostly smile-worthy rather than laugh-out-loud funny. Much fun is had with the sex change of Bethany’s character, with Jack Black’s member featuring – erm – prominently. The characters all have strengths and weaknesses, like a game of Top Trumps, and this also entertains. But the most humour derives from the “three lives and it’s game over” device giving the opportunity for various grisly ends, often relating to the above referenced weaknesses.
A weakness for cake… something many of us have, but not quite to this extent.
Given the cast that’s been signed up, the acting is not exactly first rate although Karen Gillan shines as the brightest star. But “it’s not bloody Shakespeare” so ham-acting is not that much of a problem and the cast all have fun with their roles. Dwayne Johnson in particular gets to play out of character as the ‘nerd within the hunk’, and his “smouldering look” skill – arched eyebrow and all – is hilarious. Rhys Darby, looking so much like Hugh Jackman that I had to do several double takes, also turns up as an English game-guide in a Land Rover, and Bobby Cannavale (“Ant Man“) is Van Pelt, the villain of the piece.
There has been much controversy over Karen Gillan’s child-sized outfit. But she is clearly a parallel to the well-endowed Lara Croft, and young male teens didn’t play that game for the jungle scenery! She is meant to be a hot and sexy video game character, and man – does she deliver! Gillan is not just hot in the film: she is #lavahot. This makes her comic attempts at flirting lessons (as the internally conflicted Martha) especially funny. Hats off to her stunt doubles as well, for some awe-inspiring martial arts fight scenes.
Seeing treble. Karen Gillan (centre) with her talented stunt doubles Joanna Bennett and Jahnel Curfman.
Fans of “Lost” will delight in the Jumanji scenery, surely one of the most over-used film locations in Hawaii if not the world!
Where the film gets bogged down is in too much cod-faced philosophizing over the teenager’s “journeys”. This is laid on in such a clunky manner in the early (slow!) scenes that the script could have been significantly tightened up. And as I said above the script, written (rather obviously) by a raft of writers, could have been so much funnier. Most of the humour comes from visually seeing what’s happening: not from the dialogue.
Directed by Jake Kasdan (son of director and Star Wars/Raiders screenwriter Lawrence Kasdan) it’s really not half as bad as it could have been and certainly not as bad as I feared: I would gladly watch it again. For it’s target audience, which is probably kids aged 10 to 14, I think they will love it. And, unlike many holiday films, the parents won’t be totally bored either (especially the Dads, for the obvious misogynistic reasons outlined above!).
But I have to say that – given this low base – I was pleasantly surprised. It’s actually quite a fun fantasy film that I predict that older kids will adore.
Seriously kick-ass. Karen Gillan – or rather one of her stunt doubles – gets hands… er… feet on with an aggressive level-character.
Initially set (neatly) in 1995, a teen – Alex (Nick Jonas, of the Jonas Brothers) unearths the board game Jumanji where it ended up buried in beach-sand at the end of the last film. “Who plays board games any more?” he scoffs, which the game hears and morphs into a game cartridge. Cheesy? Yes, but no more crazy than the goings on of the first film. Back in 2017, four high-school teens – geeky Spencer (Alex Wolff, “Patriot’s Day“); sports-jock Fridge (Ser’Darius Blain); self-obsessed beauty Bethany (Madison Iseman); and self-conscious, nerdy and shy Martha (Morgan Turner) – find the game and are sucked into it, having to complete all the game levels before they can escape.
Bethany (Madison Iseman) wishing she had her phone out for a selfie of this.
But they are not themselves in the game; they adopt the Avatars they chose to play: Dr Bravestone (Dwayne Johnson, “San Andreas“); Moose Finbar (Kevin Hart, “Get Hard“); Ruby Roundhouse (Karen Gillan, “Dr Who”, “The Circle“; “Guardians of the Galaxy“); and Professor Shelly Oberon (Jack Black, “Sex Tape“, “Kong”). Can they combine their respective game talents – and suppress the human mental baggage they brought with them – to escape the game?
Avatars all. Kevin Hart, Dwayne Johnson, Karen Gillan and Jack Black.
There was a really dark time-travelling angle to the storyline of the original film – the traumatic start of Disney’s “Flight of the Navigator” was perhaps also borrowed from the concept in the book by Chris Van Allsburg. An attempt is made to recreate this in the sequel. I felt the first film rather pulled its punches though in favour of a Hollywood happy ending: will this be the case this time?
The film delivers laughs, but in a rather inconsistent fashion – it is mostly smile-worthy rather than laugh-out-loud funny. Much fun is had with the sex change of Bethany’s character, with Jack Black’s member featuring – erm – prominently. The characters all have strengths and weaknesses, like a game of Top Trumps, and this also entertains. But the most humour derives from the “three lives and it’s game over” device giving the opportunity for various grisly ends, often relating to the above referenced weaknesses.
A weakness for cake… something many of us have, but not quite to this extent.
Given the cast that’s been signed up, the acting is not exactly first rate although Karen Gillan shines as the brightest star. But “it’s not bloody Shakespeare” so ham-acting is not that much of a problem and the cast all have fun with their roles. Dwayne Johnson in particular gets to play out of character as the ‘nerd within the hunk’, and his “smouldering look” skill – arched eyebrow and all – is hilarious. Rhys Darby, looking so much like Hugh Jackman that I had to do several double takes, also turns up as an English game-guide in a Land Rover, and Bobby Cannavale (“Ant Man“) is Van Pelt, the villain of the piece.
There has been much controversy over Karen Gillan’s child-sized outfit. But she is clearly a parallel to the well-endowed Lara Croft, and young male teens didn’t play that game for the jungle scenery! She is meant to be a hot and sexy video game character, and man – does she deliver! Gillan is not just hot in the film: she is #lavahot. This makes her comic attempts at flirting lessons (as the internally conflicted Martha) especially funny. Hats off to her stunt doubles as well, for some awe-inspiring martial arts fight scenes.
Seeing treble. Karen Gillan (centre) with her talented stunt doubles Joanna Bennett and Jahnel Curfman.
Fans of “Lost” will delight in the Jumanji scenery, surely one of the most over-used film locations in Hawaii if not the world!
Where the film gets bogged down is in too much cod-faced philosophizing over the teenager’s “journeys”. This is laid on in such a clunky manner in the early (slow!) scenes that the script could have been significantly tightened up. And as I said above the script, written (rather obviously) by a raft of writers, could have been so much funnier. Most of the humour comes from visually seeing what’s happening: not from the dialogue.
Directed by Jake Kasdan (son of director and Star Wars/Raiders screenwriter Lawrence Kasdan) it’s really not half as bad as it could have been and certainly not as bad as I feared: I would gladly watch it again. For it’s target audience, which is probably kids aged 10 to 14, I think they will love it. And, unlike many holiday films, the parents won’t be totally bored either (especially the Dads, for the obvious misogynistic reasons outlined above!).
Bob Mann (459 KP) rated The Great Wall (2016) in Movies
Sep 29, 2021
Exercising your Damons.
Millions of people watching the Oscars would have seen Jimmy Kimmel roasting poor Matt Damon as a part of their long running ‘feud’. At one point he points out that Matt gave up the leading role in “Manchester by the Sea” to star in a “Chinese ponytail movie” that “went on to lose $80 million at the box office”. “The Great Wall” is that movie!
So is it really that bad?
Well, it’s no “Manchester by the Sea” for sure. But I don’t think it’s quite the total turkey that critics have been labelling it as either. I went to see it on a Sunday afternoon, and approaching it as a matinee bit of frothy action is a good mental state to be in.
Matt Damon plays the ponytailed-wonder William, a European mercenary travelling in 11th Century China with his colleague Tovar (Pedro Pascal) in an attempt to determine the secrets of black powder – a secret well-guarded by the Chinese. Captured by the ‘New Order’ at the Great Wall and imprisoned there by General Shao (Hanyu Zhang), William earns the respect of Shao and his beautiful warrior second-in-command Lin Mae (Tian Jing) with his bowmanship. This is almost immediately put to use by the arrival (after 60 year’s absence – a funny thing, timing, isn’t it?) of hoards of vicious creatures called Taoties. (I thought they said Tauntauns initially, so was expecting some sort of Chinese/Star Wars crossover! But no.)
Taoties who scale the wall are defeated by William who poleaxes them. (This is an attempt at brilliant humour to anyone who has already seen the film – poleaxe…. get it? POLEaxe. Oh, never mind!) Despite being a mercenary at heart, William is torn between staying and helping Lin Mae fight the beasts and fleeing with Tovar, their new chum Ballard (Willem Dafoe) and their black powder loot. (I’m sure something about Lin Mae’s tight-fitting blue armour was influential in his decision).
This is an historic film in that although in recent years there has been cross-fertilization of Chinese actors into Western films for box-office reasons (for example, in the appalling “Independence Day: Resurgence” and the much better Damon vehicle “The Martian“) this was the first truly co-produced Chinese/Hollywood feature filmed entirely in China. It might also be the last given the film’s $150 million budget and the dismal box-office!
To start with some positives, you can rely on a Chinese-set film (the film location was Qingdao) to allow the use of an army of extras and – although a whole bunch of CGI was also no doubt used – some of the battles scenes are impressive. There is a stirring choral theme by Ramin Djawadi (best known for his TV themes for “Game of Thrones” and the brilliant “Westworld”) played over silk-screen painted end titles that just make for a beautiful combination. And Tian Jing as the heroine Lin Mae is not only stunningly good-looking but also injects some much needed acting talent into the cast, where most of those involved (including Damon himself) look like they would rather be somewhere else.
And some of the action scenes are rather fun in a ‘park your brain by the door’ sort of way, including (nonsensically) cute warrior girls high-diving off the wall on bungey ropes to near certain death. While the CGI monsters are of the (yawn) over-the-top LoTR variety, their ability to swarm like locusts at the Queen’s command is also quite entertainingly rendered.
Where the movie balloon comes crashing down to earth in flames though is with the story and the screenplay – all done by three different people each, which is NEVER a good sign.
The story (by Max Brooks (“World War Z”), Edward Zwick and Marshall Herskovitz (both on “The Last Samurai”) is plain nonsensical at times. No spoilers here, but the transition from “wall under siege” to “wall not under siege” gives the word ‘clunky’ a bad name. As another absurdity, the “New Order” seem amazed how William was able to slay one of the creatures (thanks to the poleaxing ‘McGuffin’ previously referenced) but then throughout the rest of the film he slays creatures left right and centre (McGuffin-less) through just the use of a spear or an arrow! Bonkers.
Things get worse when you add words to the actions. The screenplay by Carlo Bernard and Doug Miro (both “Prince of Persia: The Sands of Time”) and Tony Gilroy (Tony Gilroy? Surely not he of all the “Bourne” films and “Rogue One” fame? The very same!) has a reading age of about an 8 year old. It feels like it has been translated into Chinese and then back again to English with Google Translate. “Is that the best you can do?” asks Tovar to William at one point. I was thinking exactly the same thing.
The combination of the cinematography and the special effects have the unfortunate effect of giving the film the veneer of a video game, but this is one where your kid-brother has stolen the controls and refuses to give them back to you.
Having had the great thrill of visiting a section of The Great Wall near Beijing, I can confirm that it is an astonishing engineering masterpiece that has to be seen to be truly believed. It ranks as one of the genuine wonders of the world. The same can not be said of this movie. Early teens might enjoy it as a mindless action flick. But otherwise best avoided until it emerges on a raining Sunday afternoon on the TV.
So is it really that bad?
Well, it’s no “Manchester by the Sea” for sure. But I don’t think it’s quite the total turkey that critics have been labelling it as either. I went to see it on a Sunday afternoon, and approaching it as a matinee bit of frothy action is a good mental state to be in.
Matt Damon plays the ponytailed-wonder William, a European mercenary travelling in 11th Century China with his colleague Tovar (Pedro Pascal) in an attempt to determine the secrets of black powder – a secret well-guarded by the Chinese. Captured by the ‘New Order’ at the Great Wall and imprisoned there by General Shao (Hanyu Zhang), William earns the respect of Shao and his beautiful warrior second-in-command Lin Mae (Tian Jing) with his bowmanship. This is almost immediately put to use by the arrival (after 60 year’s absence – a funny thing, timing, isn’t it?) of hoards of vicious creatures called Taoties. (I thought they said Tauntauns initially, so was expecting some sort of Chinese/Star Wars crossover! But no.)
Taoties who scale the wall are defeated by William who poleaxes them. (This is an attempt at brilliant humour to anyone who has already seen the film – poleaxe…. get it? POLEaxe. Oh, never mind!) Despite being a mercenary at heart, William is torn between staying and helping Lin Mae fight the beasts and fleeing with Tovar, their new chum Ballard (Willem Dafoe) and their black powder loot. (I’m sure something about Lin Mae’s tight-fitting blue armour was influential in his decision).
This is an historic film in that although in recent years there has been cross-fertilization of Chinese actors into Western films for box-office reasons (for example, in the appalling “Independence Day: Resurgence” and the much better Damon vehicle “The Martian“) this was the first truly co-produced Chinese/Hollywood feature filmed entirely in China. It might also be the last given the film’s $150 million budget and the dismal box-office!
To start with some positives, you can rely on a Chinese-set film (the film location was Qingdao) to allow the use of an army of extras and – although a whole bunch of CGI was also no doubt used – some of the battles scenes are impressive. There is a stirring choral theme by Ramin Djawadi (best known for his TV themes for “Game of Thrones” and the brilliant “Westworld”) played over silk-screen painted end titles that just make for a beautiful combination. And Tian Jing as the heroine Lin Mae is not only stunningly good-looking but also injects some much needed acting talent into the cast, where most of those involved (including Damon himself) look like they would rather be somewhere else.
And some of the action scenes are rather fun in a ‘park your brain by the door’ sort of way, including (nonsensically) cute warrior girls high-diving off the wall on bungey ropes to near certain death. While the CGI monsters are of the (yawn) over-the-top LoTR variety, their ability to swarm like locusts at the Queen’s command is also quite entertainingly rendered.
Where the movie balloon comes crashing down to earth in flames though is with the story and the screenplay – all done by three different people each, which is NEVER a good sign.
The story (by Max Brooks (“World War Z”), Edward Zwick and Marshall Herskovitz (both on “The Last Samurai”) is plain nonsensical at times. No spoilers here, but the transition from “wall under siege” to “wall not under siege” gives the word ‘clunky’ a bad name. As another absurdity, the “New Order” seem amazed how William was able to slay one of the creatures (thanks to the poleaxing ‘McGuffin’ previously referenced) but then throughout the rest of the film he slays creatures left right and centre (McGuffin-less) through just the use of a spear or an arrow! Bonkers.
Things get worse when you add words to the actions. The screenplay by Carlo Bernard and Doug Miro (both “Prince of Persia: The Sands of Time”) and Tony Gilroy (Tony Gilroy? Surely not he of all the “Bourne” films and “Rogue One” fame? The very same!) has a reading age of about an 8 year old. It feels like it has been translated into Chinese and then back again to English with Google Translate. “Is that the best you can do?” asks Tovar to William at one point. I was thinking exactly the same thing.
The combination of the cinematography and the special effects have the unfortunate effect of giving the film the veneer of a video game, but this is one where your kid-brother has stolen the controls and refuses to give them back to you.
Having had the great thrill of visiting a section of The Great Wall near Beijing, I can confirm that it is an astonishing engineering masterpiece that has to be seen to be truly believed. It ranks as one of the genuine wonders of the world. The same can not be said of this movie. Early teens might enjoy it as a mindless action flick. But otherwise best avoided until it emerges on a raining Sunday afternoon on the TV.
Ryan Hill (152 KP) rated Aquaman (2018) in Movies
Jun 8, 2019
"war is coming to the surface"
Aquaman is absolutely a disciple of the superhero formula we've seen used, reused and recycled over the past couple decades...but its formula done right. There's an inherent lunacy to a hero like Aquaman; his myth is built upon a lost Atlantean culture that's simultaneously advanced technologically and heavily influenced by ancient Greek mythology, and his powers included near-Superman levels of strength and invulnerability existing alongside an ability to communicate with marine life. This makes approaching his story from a gritty, realistic perspective damn near impossible.
Instead Wan and the writers behind Aquaman intelligently focus on world-building and following the tried-and-true "heroic journey"; complete with initial rejection of a prophesied role, slow but steady immersion into said role's culture, recognition of the need for growth and change, and eventual assumption of role. It's been seen before and it'll be seen again. But what propels Aquaman ahead of other films like it is the energy that Wan imbues it with. It's goofy without undermining the sincerity of Arthur's journey. It's fast-paced and simple-minded without sacrificing the weight and universality of this particular hero's myth. It's loud and colorful and *full* of CGI everything without reducing itself to an over-commercialized, artless heap of nothingness.
It's a big-ass blockbuster with personality. Momoa has charisma to spare; he owns the physicality and irreverence of this new imagining of the king of the ocean perfectly. Amber Heard is sexy and badass as Mera; something of a victim of a forced romance but also a compelling and strong protagonist in her own right. Patrick Wilson as Oceanmaster (call me....Oceanmaster) is given enough screen-time to develop that he's more than a punching bag for Aquaman; but actually a character with ambitions and a defined, fleshed-out purpose. The origin segment is tightly done and more than enough to set the stage for what is to come. And probably the strongest aspect of this picture, the costuming and world-building, is off the charts. Similar to the enduring fantasy films that precede this (LOTR, Star Wars, Avatar for a few examples) the undersea kingdoms are a place I want to return to. They aren't just my world dressed up with CGI and the occasional costuming flourish; they're entirely foreign and endlessly inventive. Probably a solid third of the film is simply Aquaman, and the audience, being told about this world and shown it by Mera. While that may not be artistically prestigious strategy for engaging audiences, it entertains and fascinates on a "turn off your brain and look at those pretty colors" sort of way. There's a simple glee in seeing sharks ridden like horses or an octopus pounding a war-time set of drums.
I always offer the disclaimer when writing about nerdy films that I love which is this: I am a nerd. While I wasn't particularly attached to Aquaman growing up; his journey, the nature of this sort of film and the cinematic universe he will be growing into are fundamentally important to me, and I like to embrace that bias rather than keep it in check with reduced ratings or "objective" analysis. Whether it be a giant, confusing and chaotic battle between underwater armies or the horrifying descent into "the trench"; you'll always find me looking up at the screen like a little kid. Or moments like Arthur meeting Mera and confronting is past, or taking upon the role of king while wielding the trident; I just love that sort of stuff. I'm a sucker for these beats and this formula; and all signs point to this continuing. So while I may like it more than most; I'd mostly like to say Aquaman still distinguishes itself as a particularly goofy, sprawling, mythic, and metal experience that deserved to be seen on the big-screen, and to be celebrated as the fantasy film it is. It's a great time, and a nice addition to the DC film franchise.
Instead Wan and the writers behind Aquaman intelligently focus on world-building and following the tried-and-true "heroic journey"; complete with initial rejection of a prophesied role, slow but steady immersion into said role's culture, recognition of the need for growth and change, and eventual assumption of role. It's been seen before and it'll be seen again. But what propels Aquaman ahead of other films like it is the energy that Wan imbues it with. It's goofy without undermining the sincerity of Arthur's journey. It's fast-paced and simple-minded without sacrificing the weight and universality of this particular hero's myth. It's loud and colorful and *full* of CGI everything without reducing itself to an over-commercialized, artless heap of nothingness.
It's a big-ass blockbuster with personality. Momoa has charisma to spare; he owns the physicality and irreverence of this new imagining of the king of the ocean perfectly. Amber Heard is sexy and badass as Mera; something of a victim of a forced romance but also a compelling and strong protagonist in her own right. Patrick Wilson as Oceanmaster (call me....Oceanmaster) is given enough screen-time to develop that he's more than a punching bag for Aquaman; but actually a character with ambitions and a defined, fleshed-out purpose. The origin segment is tightly done and more than enough to set the stage for what is to come. And probably the strongest aspect of this picture, the costuming and world-building, is off the charts. Similar to the enduring fantasy films that precede this (LOTR, Star Wars, Avatar for a few examples) the undersea kingdoms are a place I want to return to. They aren't just my world dressed up with CGI and the occasional costuming flourish; they're entirely foreign and endlessly inventive. Probably a solid third of the film is simply Aquaman, and the audience, being told about this world and shown it by Mera. While that may not be artistically prestigious strategy for engaging audiences, it entertains and fascinates on a "turn off your brain and look at those pretty colors" sort of way. There's a simple glee in seeing sharks ridden like horses or an octopus pounding a war-time set of drums.
I always offer the disclaimer when writing about nerdy films that I love which is this: I am a nerd. While I wasn't particularly attached to Aquaman growing up; his journey, the nature of this sort of film and the cinematic universe he will be growing into are fundamentally important to me, and I like to embrace that bias rather than keep it in check with reduced ratings or "objective" analysis. Whether it be a giant, confusing and chaotic battle between underwater armies or the horrifying descent into "the trench"; you'll always find me looking up at the screen like a little kid. Or moments like Arthur meeting Mera and confronting is past, or taking upon the role of king while wielding the trident; I just love that sort of stuff. I'm a sucker for these beats and this formula; and all signs point to this continuing. So while I may like it more than most; I'd mostly like to say Aquaman still distinguishes itself as a particularly goofy, sprawling, mythic, and metal experience that deserved to be seen on the big-screen, and to be celebrated as the fantasy film it is. It's a great time, and a nice addition to the DC film franchise.
Gareth von Kallenbach (980 KP) rated Fantastic Four (2015) in Movies
Jun 19, 2019
If you hold the film rights to an iconic and beloved comic book series, one would think you would do everything possible to see that it flourishes under you watch. For 29th Century Fox, The Fantastic Four is an asset that should be a gem of their studio as the long-running Marvel comic series has had legions of fans for generations.
The previous two films did well enough but still had their detractors amongst the fans. So, Fox opted for a hiatus and then a radical reboot of the series complete with casting choices that were considered very questionable.
The new version features Miles Teller as Reed Richards, a young man obsessed with teleportation to the point that his teachers and other students laugh at him for his odd and obsessive ways.
His only friend is Ben Grimm (Jamie Bell), who despite a lack of scientific knowledge supports Reed in his efforts which eventually allow him to be recruited by Dr. Franklin Storm (Reg E. Cathey), who discloses that he is working on a large scale teleportation device and seeing how Reed pulled it off with a device he made in his garage, is eager to see what he can do at a fully-funded facility.
Reed meets Franklins adopted daughter Sue (Kate Mara), as well as his son Johnny (Michael B. Jordan), while they work with the mercurial Victor Von Doom (Toby Kebbell), to complete the device.
When the team finds success, they are horrified to learn that the government plans to take over control of the project so Ben, Victor, Johnny, and Reed opt to use it themselves to visit the other dimension in order to leave their mark in history.
Things at first go well but when a mysterious force envelops them, odd things start to happen when they return home. Reed is capable of stretching himself, Johnny is a living fire, Ben is covered in rocks, and Sue is phasing in and out.
Flashing forward the group is under the watch of the government and Reed has fled not wanting to be a part of whatever is going on. Ben is used for special operations and blames Reed for abandoning them as Sue and Johnny are prepped for the field.
Now one would think a setup like this has some potential at the very least for some action and great FX. Sadly the film lurches ahead fairly light on action. The threat to the film appears, and within 10 minutes has moved to a fairly underwhelming final conflict that is so obviously done in front of a Green Screen that it loses much of the intended impact.
The best I can say for the film is that it is a forgettable and flawed film that tries to launch a new franchise in a new way. But the casting choices in the film are so wrong, that it undermines it at every step. Setting aside the debate over an African American Johnny Storm, Miles Teller is so bland; he just does not scream leading man or driving force behind the team.
The same can be said for pretty much the entire cast. The backstories hint at various things but their actions conflict several aspects of the film which to be honest are fairly forgettable.
The entire movie is like watching a Jr. College Fan Film where the cast has a Green Screen and studio funding, but not a clue on how to carry out a story, modern action sequences of character development.
Fox needs to take a serious page from Sony and work with Marvel if they are going to continue this franchise, or return the rights to Marvel so fans can finally get a film that does justice to the source material.
I am glad that Director Josh Trank is no longer associated with the pending Star Wars film as this movie is a train wreck that spits all over the history and legacy of the source material.
http://sknr.net/2015/08/07/the-fantastic-four/
The previous two films did well enough but still had their detractors amongst the fans. So, Fox opted for a hiatus and then a radical reboot of the series complete with casting choices that were considered very questionable.
The new version features Miles Teller as Reed Richards, a young man obsessed with teleportation to the point that his teachers and other students laugh at him for his odd and obsessive ways.
His only friend is Ben Grimm (Jamie Bell), who despite a lack of scientific knowledge supports Reed in his efforts which eventually allow him to be recruited by Dr. Franklin Storm (Reg E. Cathey), who discloses that he is working on a large scale teleportation device and seeing how Reed pulled it off with a device he made in his garage, is eager to see what he can do at a fully-funded facility.
Reed meets Franklins adopted daughter Sue (Kate Mara), as well as his son Johnny (Michael B. Jordan), while they work with the mercurial Victor Von Doom (Toby Kebbell), to complete the device.
When the team finds success, they are horrified to learn that the government plans to take over control of the project so Ben, Victor, Johnny, and Reed opt to use it themselves to visit the other dimension in order to leave their mark in history.
Things at first go well but when a mysterious force envelops them, odd things start to happen when they return home. Reed is capable of stretching himself, Johnny is a living fire, Ben is covered in rocks, and Sue is phasing in and out.
Flashing forward the group is under the watch of the government and Reed has fled not wanting to be a part of whatever is going on. Ben is used for special operations and blames Reed for abandoning them as Sue and Johnny are prepped for the field.
Now one would think a setup like this has some potential at the very least for some action and great FX. Sadly the film lurches ahead fairly light on action. The threat to the film appears, and within 10 minutes has moved to a fairly underwhelming final conflict that is so obviously done in front of a Green Screen that it loses much of the intended impact.
The best I can say for the film is that it is a forgettable and flawed film that tries to launch a new franchise in a new way. But the casting choices in the film are so wrong, that it undermines it at every step. Setting aside the debate over an African American Johnny Storm, Miles Teller is so bland; he just does not scream leading man or driving force behind the team.
The same can be said for pretty much the entire cast. The backstories hint at various things but their actions conflict several aspects of the film which to be honest are fairly forgettable.
The entire movie is like watching a Jr. College Fan Film where the cast has a Green Screen and studio funding, but not a clue on how to carry out a story, modern action sequences of character development.
Fox needs to take a serious page from Sony and work with Marvel if they are going to continue this franchise, or return the rights to Marvel so fans can finally get a film that does justice to the source material.
I am glad that Director Josh Trank is no longer associated with the pending Star Wars film as this movie is a train wreck that spits all over the history and legacy of the source material.
http://sknr.net/2015/08/07/the-fantastic-four/
Lee (2222 KP) rated Ralph Breaks the Internet: Wreck-It Ralph 2 (2018) in Movies
Dec 12, 2018
Imaginative portrayal of the internet (2 more)
Ralph and Vanellope
Good positive messages throughout
Enjoyable Sequel
I cannot believe it's been 6 years since we last saw Ralph and Vanellope! And when we join them again, they're still in the same arcade, right where we left them. By day carrying out their respective gaming duties, by night socialising with the other arcade characters and drinking together in Tappers bar. They seem happy and content with life, although Vanellope is beginning to feel that there's more to life than the same old Sugar Rush races all day every day.
In an attempt to help his friend and spice things up for her, Ralph decides to smash a new race course through the Sugar Rush landscape. But things don't go quite according to plan, resulting in a broken steering wheel on the arcade machine. Unfortunately, the company responsible for making that machine is no longer in business so parts for it aren't readily available, or too expensive to buy online, so the plug gets pulled on the machine. With the future of the game in jeopardy, and with the Sugar Rush inhabitants having to find new homes with the other arcade residents, Ralph and Vanellope decide to try and help. The arcade has just had a Wi-fi router plugged in, and they overheard one of the kids in the arcade earlier talking about the steering wheel being available online on some site called eBoy? So, they decide to go investigate this thing called the internet.
I've seen a few reviews that draw comparisons to this movie and with 'Ready Player One' from earlier this year. As we entered the Oasis of Ready Player One, we were treated to an amazing visual onslaught of wonderful imagery and instantly recognisable characters. And, as Ralph and Vanellope enter the internet, it's a similarly enjoyable experience. Recognisable brands and websites are everywhere you look, either as buildings or with their concepts imaginatively represented in some form. Twitter birds fly around, characters force suspicious looking spam adverts in your face while busy web traffic is everywhere, constantly being directed to its next destination. Ralph and Vanellope eventually find their way to eBay, where the steering wheel they need is currently being auctioned, but they don't really understand the bidding process and end up winning it for more money than they can possibly pay. They then set about finding a way to get rich quick so that they can pay for the wheel and get it shipped to the arcade before the game gets removed for scrap. Their journey takes them to an online game called 'Slaughter Race', a violent racing game featuring skilled racer Shank (voiced by Gal Gadot), a world which immediately excites racing fiend Vanellope, who feels right at home.
It's great to see the characters of Ralph and Vanellope back on our screens. Ralph is still very funny and Vanellope is still extremely cute! There are also a large number of sections of the movie which work very well and are extremely enjoyable. Aside from the initial introduction to the internet, and the whole Slaughter Race segment, probably the most enjoyable portion is the visit to Disney and the Disney princesses, which received such a big reaction when featured in the various trailers for the movie. And we don't just get the princesses either, we also get to see Marvel and Star Wars characters too! Another chance to scour the screen to try and spot background characters, and a reminder that Disney is in fact slowly taking over the world!
Towards the end of the movie I felt that things weren't so interesting and enjoyable, with a lengthy segment involving a virus and how it spreads and manifests itself, threatening the whole internet. But that's a minor negative from me in what is overall a hugely enjoyable sequel. There are also a number of very strong messages throughout, from the Disney princesses and the way they act, to the way that internet negativity is portrayed. I'm not sure of the longevity of this movie though - after all, at the speed the internet develops these days, how many of the sites or concepts featured are going to still be around or even relevant in another 6 years time?
In an attempt to help his friend and spice things up for her, Ralph decides to smash a new race course through the Sugar Rush landscape. But things don't go quite according to plan, resulting in a broken steering wheel on the arcade machine. Unfortunately, the company responsible for making that machine is no longer in business so parts for it aren't readily available, or too expensive to buy online, so the plug gets pulled on the machine. With the future of the game in jeopardy, and with the Sugar Rush inhabitants having to find new homes with the other arcade residents, Ralph and Vanellope decide to try and help. The arcade has just had a Wi-fi router plugged in, and they overheard one of the kids in the arcade earlier talking about the steering wheel being available online on some site called eBoy? So, they decide to go investigate this thing called the internet.
I've seen a few reviews that draw comparisons to this movie and with 'Ready Player One' from earlier this year. As we entered the Oasis of Ready Player One, we were treated to an amazing visual onslaught of wonderful imagery and instantly recognisable characters. And, as Ralph and Vanellope enter the internet, it's a similarly enjoyable experience. Recognisable brands and websites are everywhere you look, either as buildings or with their concepts imaginatively represented in some form. Twitter birds fly around, characters force suspicious looking spam adverts in your face while busy web traffic is everywhere, constantly being directed to its next destination. Ralph and Vanellope eventually find their way to eBay, where the steering wheel they need is currently being auctioned, but they don't really understand the bidding process and end up winning it for more money than they can possibly pay. They then set about finding a way to get rich quick so that they can pay for the wheel and get it shipped to the arcade before the game gets removed for scrap. Their journey takes them to an online game called 'Slaughter Race', a violent racing game featuring skilled racer Shank (voiced by Gal Gadot), a world which immediately excites racing fiend Vanellope, who feels right at home.
It's great to see the characters of Ralph and Vanellope back on our screens. Ralph is still very funny and Vanellope is still extremely cute! There are also a large number of sections of the movie which work very well and are extremely enjoyable. Aside from the initial introduction to the internet, and the whole Slaughter Race segment, probably the most enjoyable portion is the visit to Disney and the Disney princesses, which received such a big reaction when featured in the various trailers for the movie. And we don't just get the princesses either, we also get to see Marvel and Star Wars characters too! Another chance to scour the screen to try and spot background characters, and a reminder that Disney is in fact slowly taking over the world!
Towards the end of the movie I felt that things weren't so interesting and enjoyable, with a lengthy segment involving a virus and how it spreads and manifests itself, threatening the whole internet. But that's a minor negative from me in what is overall a hugely enjoyable sequel. There are also a number of very strong messages throughout, from the Disney princesses and the way they act, to the way that internet negativity is portrayed. I'm not sure of the longevity of this movie though - after all, at the speed the internet develops these days, how many of the sites or concepts featured are going to still be around or even relevant in another 6 years time?