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Kirk Bage (1775 KP) rated Parasite (2019) in Movies
Jan 22, 2021 (Updated Jan 22, 2021)
Hello there! It’s been six weeks since my last post – Covid 19 related restriction issues sent me to a very odd place mentally and it has taken me a while to snap out of it enough to have the energy and will to keep writing these reviews. But what better way to recomense than with the history making Best Picture film from earlier in this strange year of 2020, before all the things that changed our way of thinking began?
The hype surrounding this movie in January was immense, for a film coming from Korea out of the blue, with an image and plot that didn’t fit into any of the normal marketing boxes. Every review ranged from this is incredible to… just see it for yourself. Nothing could have been more intriguing. I was certainly hooked on the idea, although by the time the Oscars came around I still hadn’t managed to see it at the cinema.
I found it fascinating that the academy had chosen 2020 as the year to change the dodgy sounding “Best Foreign Language film” to “Best International film”. It was about time, really, to acknowledge the us and them philosophy of world cinema didn’t really wash. And as the sublime Roma had paved the way for non English films to be considered again in all the main categories as serious contenders, I just had a feeling this was the year Oscar would make a statement with this film.
And so it turned out to be. It was a strong year. At the time I was a huge Joker advocate, having not yet seen 1917 either. Looking back now, I think, although not as perfect as Roma the year before, Parasite certainly deserves the praise and accolades it garnered from all around the world. Although any of those 3 films (Parasite, 1917 and Joker) would have been obvious winners in any other less competitive year.
So what is it about Parasite that raises it above the masses? Well, for a start it looks both beautiful and awe inspiring in every shot. Each image is designed and framed expertly to create a montage of mood and form that holds the multi-layered storytelling in place. Rarely have I seen such a well balanced and crisp visual design for a film, of any kind. Even with the subtitles off there is plenty to engage the eye and mind here. But it’s real secret is how it draws you in to believing you are watching one kind of satirical drama for about 40 minutes and then punches you in the solar plexus with the revelation that it has mutated into something darker, weirder and more entertaining on every level.
The “twist” when it comes along is so well placed and unexpected, even if you are told to expect one, that it entirely transforms your experience. You have been engaging with social issues and a basic satire on the rich vs the poor, where true power is a good wifi signal, and then, blam, you are watching a modern horror story with truly disturbing ramifications. I found this gear shift riveting and striking in a way that I can’t remember from a film in a long time.
But, looking back on it after several months, is that tonal shift really a strength? Some criticism, however minor in the scheme of things, did point this out, that what we get with Parasite is an unfocused and confused mix of genres that doesn’t entirely cohere. I mean, I see that, but have to disagree, simply because the writing at every point is too intelligent and sharp to give a damn about staying still and balanced on just one idea. Parasite is an exercise in energetic chaos that juggles many balls, all as interesting as one another, without dropping any of them.
Poverty, class, elitism, generational gaps, vanity, work ethics and morality, roles within a family unit, loyalty, weakness, revenge and bitterness are all themes here, and many more. Start going down the alley of one conversation that Parasite starts and end up somewhere entirely different in just a few sentences. And that is why it is worth seeing, several times. And that is why it works and was rewarded.
Is it a film I will be keen to see over again as the years pass? Yes and no. I’d probably be most interested to see it with someone who hasn’t seen it, to see their reaction. But I’m much less likely to give it multiple watches than the previous mentioned Joker and 1917, or indeed Roma, which I just can’t help comparing it to, even though they have virtually nothing in common, as I wish it had been Roma that made history at the awards rather than this. Of course, it is personal taste at that level of quality, but I believe Roma to be the better film.
If nothing else, however, Parasite marks the graduation of Bong Joon Ho, from a quirky filmmaker, whose interesting but not quite great near misses include The Host, Snowpiercer and Okja – all entertaining but flawed – to an auteur of considerable skill. Will the elements of his mind and vision ever align this well again. I hope so. I’ll be looking out for it, as will the rest of the world now.
The hype surrounding this movie in January was immense, for a film coming from Korea out of the blue, with an image and plot that didn’t fit into any of the normal marketing boxes. Every review ranged from this is incredible to… just see it for yourself. Nothing could have been more intriguing. I was certainly hooked on the idea, although by the time the Oscars came around I still hadn’t managed to see it at the cinema.
I found it fascinating that the academy had chosen 2020 as the year to change the dodgy sounding “Best Foreign Language film” to “Best International film”. It was about time, really, to acknowledge the us and them philosophy of world cinema didn’t really wash. And as the sublime Roma had paved the way for non English films to be considered again in all the main categories as serious contenders, I just had a feeling this was the year Oscar would make a statement with this film.
And so it turned out to be. It was a strong year. At the time I was a huge Joker advocate, having not yet seen 1917 either. Looking back now, I think, although not as perfect as Roma the year before, Parasite certainly deserves the praise and accolades it garnered from all around the world. Although any of those 3 films (Parasite, 1917 and Joker) would have been obvious winners in any other less competitive year.
So what is it about Parasite that raises it above the masses? Well, for a start it looks both beautiful and awe inspiring in every shot. Each image is designed and framed expertly to create a montage of mood and form that holds the multi-layered storytelling in place. Rarely have I seen such a well balanced and crisp visual design for a film, of any kind. Even with the subtitles off there is plenty to engage the eye and mind here. But it’s real secret is how it draws you in to believing you are watching one kind of satirical drama for about 40 minutes and then punches you in the solar plexus with the revelation that it has mutated into something darker, weirder and more entertaining on every level.
The “twist” when it comes along is so well placed and unexpected, even if you are told to expect one, that it entirely transforms your experience. You have been engaging with social issues and a basic satire on the rich vs the poor, where true power is a good wifi signal, and then, blam, you are watching a modern horror story with truly disturbing ramifications. I found this gear shift riveting and striking in a way that I can’t remember from a film in a long time.
But, looking back on it after several months, is that tonal shift really a strength? Some criticism, however minor in the scheme of things, did point this out, that what we get with Parasite is an unfocused and confused mix of genres that doesn’t entirely cohere. I mean, I see that, but have to disagree, simply because the writing at every point is too intelligent and sharp to give a damn about staying still and balanced on just one idea. Parasite is an exercise in energetic chaos that juggles many balls, all as interesting as one another, without dropping any of them.
Poverty, class, elitism, generational gaps, vanity, work ethics and morality, roles within a family unit, loyalty, weakness, revenge and bitterness are all themes here, and many more. Start going down the alley of one conversation that Parasite starts and end up somewhere entirely different in just a few sentences. And that is why it is worth seeing, several times. And that is why it works and was rewarded.
Is it a film I will be keen to see over again as the years pass? Yes and no. I’d probably be most interested to see it with someone who hasn’t seen it, to see their reaction. But I’m much less likely to give it multiple watches than the previous mentioned Joker and 1917, or indeed Roma, which I just can’t help comparing it to, even though they have virtually nothing in common, as I wish it had been Roma that made history at the awards rather than this. Of course, it is personal taste at that level of quality, but I believe Roma to be the better film.
If nothing else, however, Parasite marks the graduation of Bong Joon Ho, from a quirky filmmaker, whose interesting but not quite great near misses include The Host, Snowpiercer and Okja – all entertaining but flawed – to an auteur of considerable skill. Will the elements of his mind and vision ever align this well again. I hope so. I’ll be looking out for it, as will the rest of the world now.
KalJ95 (25 KP) rated Final Fantasy VII Remake in Video Games
Jun 10, 2020 (Updated Jun 10, 2020)
Combat Is Fluid, Weighty And Satisfying. (2 more)
The Protagonists Are Well Thought Out.
I Can't Wait For The Next Part.
Side missions Are Tedious And Boring (2 more)
The Middle Is A Slog To Go Through,
Parts Of The Story Needed Removing
A Classic Reborn.
I understand the impact FFVII has had on both video game narratives, and storytelling itself. It remains a staple mark on video games, and as such is held so highly amongst developers as the standard of how great a narrative can be, and its hard to argue. I haven't even played the original 1997 release, but I know the story beats and main moments. Its an incredible journey, with fascinating characters, rolled into moments of twists and turns. Once a remake was announced, it obviously was met with massive anticipation, and worrying doubt. Could you possibly pull off a remake of classic and make fans old and new fall in love all over again?
The answer is a yes, but only just. I played FFVIIR as a brand new player, knowing nothing of the characters or story of what happens in Midgar, and began being completely enthralled. The opening is a chapter of fast edged combat and moral dilemmas of actions taken by our heroes. Its explosive, bursting with huge set pieces and cheesy dialogue. I loved every moment, and this was only the tutorial. The implications ride high throughout the whole experience when you see the environment change around you, and questions begin to arise from NPC’s, and yourself. Is their really any good guys amongst this world of soldiers, eco-terrorists and corrupt authority figures?
From then the game takes different directions, and things become problematic, specifically once you fade from the Avalanche crew.
Although the story still remains as engaging to a certain point, the experience takes a wayward nosedive. Side missions are introduced, and while you don't have to complete them, you feel the need to once characters start asking you to. This becomes a major issue because they are all so boring and stiff. The characters you talk to are all robotic, the dialogue seems overdramatised, and the reward itself just isn't worth it. The main aspect of buying a game for me is for immersion, and consistently I was being pulled from the experience because of lacklustre moments, and this is the same for most of the game. As I said, the opening to the story is a perfect way to begin your stay in Midgar, but once you drift away from the Avalanche crew, the story becomes stale. The game feels more like a twenty five hour experience rather than thirty five, and cutting certain sections would boost the story significantly. I understand wanting to add more and retain the great moments from the original, but sometimes cutting the fat can also be a good thing.
While moments in the original game could last around one hour, FFVIIR stretches it further to gain more insight into side characters and exploration. Don’t get wrong, it works in certain areas, for example Wall Market and Sector 7 as a whole are fantastic places to spend hours in, which I did. They burst with details that provide back story to their presence only thought about by the player. The slums are cramped, lifeless in colour, and shows the class divide within Midgar’s people.
However, in these moments they are only boosted further by the best feature of the game; Combat.
The combat is sublime, crunchy and weighty, and requires excellent skill the more you progress. Each of the protagonists has unique fighting styles, and customisation with materials gives you even more edge over your opponents. Fighting your standard monsters and creatures becomes a breeze once you know their weaknesses, but Boss fights are where the real challenge happens. Boss fights are the highlight of the entire game, especially the likes of a Giant House and the Final confrontation, and encapsulate the work and progression within the characters you play as. At first, I just wanted to play as Cloud, but knowing each characters skills, then switching between them to fight, and help other members of your party, becomes a juggling act thats so damn good. Speaking of which, our Heroes. At first, I thought I was dealing with generic anime characters who all boast the same attributes, and how wrong I was. Cloud is defensive, standoffish and blunt, who's primarily in the job for the money. Cloud is suffering, from what I can gather, with amnesia, and as the game’s questions begin to reveal the answers, he sets aside the hard edged exterior he carries with him, and opens up to warm to this band of wacky eco-terrorists. Even with this just being the first part of however many they are planning to release, Cloud is so interesting to me, a nut you want to crack and see what is inside, and his past becomes the focal point of the finale. He has become one of my favourite characters in a video game.
FFVIIR is a conundrum I only further want to figure out. Its both an incredible video game, but also bogged down with clear issues, which I personally feel either didn’t need to be in the game, or could of spent more time being fleshed out. Would I recommend it? Absolutely. Its a game I feel everyone should play, for gorgeous spectacle and mesmerising vision. I can’t wait for the second part.
The answer is a yes, but only just. I played FFVIIR as a brand new player, knowing nothing of the characters or story of what happens in Midgar, and began being completely enthralled. The opening is a chapter of fast edged combat and moral dilemmas of actions taken by our heroes. Its explosive, bursting with huge set pieces and cheesy dialogue. I loved every moment, and this was only the tutorial. The implications ride high throughout the whole experience when you see the environment change around you, and questions begin to arise from NPC’s, and yourself. Is their really any good guys amongst this world of soldiers, eco-terrorists and corrupt authority figures?
From then the game takes different directions, and things become problematic, specifically once you fade from the Avalanche crew.
Although the story still remains as engaging to a certain point, the experience takes a wayward nosedive. Side missions are introduced, and while you don't have to complete them, you feel the need to once characters start asking you to. This becomes a major issue because they are all so boring and stiff. The characters you talk to are all robotic, the dialogue seems overdramatised, and the reward itself just isn't worth it. The main aspect of buying a game for me is for immersion, and consistently I was being pulled from the experience because of lacklustre moments, and this is the same for most of the game. As I said, the opening to the story is a perfect way to begin your stay in Midgar, but once you drift away from the Avalanche crew, the story becomes stale. The game feels more like a twenty five hour experience rather than thirty five, and cutting certain sections would boost the story significantly. I understand wanting to add more and retain the great moments from the original, but sometimes cutting the fat can also be a good thing.
While moments in the original game could last around one hour, FFVIIR stretches it further to gain more insight into side characters and exploration. Don’t get wrong, it works in certain areas, for example Wall Market and Sector 7 as a whole are fantastic places to spend hours in, which I did. They burst with details that provide back story to their presence only thought about by the player. The slums are cramped, lifeless in colour, and shows the class divide within Midgar’s people.
However, in these moments they are only boosted further by the best feature of the game; Combat.
The combat is sublime, crunchy and weighty, and requires excellent skill the more you progress. Each of the protagonists has unique fighting styles, and customisation with materials gives you even more edge over your opponents. Fighting your standard monsters and creatures becomes a breeze once you know their weaknesses, but Boss fights are where the real challenge happens. Boss fights are the highlight of the entire game, especially the likes of a Giant House and the Final confrontation, and encapsulate the work and progression within the characters you play as. At first, I just wanted to play as Cloud, but knowing each characters skills, then switching between them to fight, and help other members of your party, becomes a juggling act thats so damn good. Speaking of which, our Heroes. At first, I thought I was dealing with generic anime characters who all boast the same attributes, and how wrong I was. Cloud is defensive, standoffish and blunt, who's primarily in the job for the money. Cloud is suffering, from what I can gather, with amnesia, and as the game’s questions begin to reveal the answers, he sets aside the hard edged exterior he carries with him, and opens up to warm to this band of wacky eco-terrorists. Even with this just being the first part of however many they are planning to release, Cloud is so interesting to me, a nut you want to crack and see what is inside, and his past becomes the focal point of the finale. He has become one of my favourite characters in a video game.
FFVIIR is a conundrum I only further want to figure out. Its both an incredible video game, but also bogged down with clear issues, which I personally feel either didn’t need to be in the game, or could of spent more time being fleshed out. Would I recommend it? Absolutely. Its a game I feel everyone should play, for gorgeous spectacle and mesmerising vision. I can’t wait for the second part.
Bob Mann (459 KP) rated Life (2017) in Movies
Sep 29, 2021
Life after Gravity.
Mankind is on the verge of a major milestone. The “Pilgrim” probe is returning from Mars containing soil samples that might spell the discovery of the first palpable evidence of life beyond earth. Proving that earth scientists are not completely incompetent, the probe is being returned not to earth but to a lab on the International Space Station where strict quarantine can be maintained. This key mission requirement is the responsibility of Miranda North (Rebecca Ferguson, “Mission Impossible: Rogue Nation”). Supporting her is an international crew including fellow doctor David Harris (Jake Gyllenhaal, “Source Code”), professional astronaut Rory Adams (Ryan Reynolds, “Deadpool”) and Hugh Derry (Ariyon Bakare), the lead scientist studying the samples. Needless to say, the soil samples yield more promise than Derry could have ever hoped for (or North could have feared). A crisis of growth and death ensues in a manner that fans of “Alien” will be suitably familiar with. Can the crew survive against all the odds?
Jake Gyllenhaal is one of my favourite actors with a raft of quality films in his CV such as “Nightcrawler” and last year’s hugely underrated (and almost Oscar-ignored) “Nocturnal Animals”. Rebecca Ferguson is also a class act and one of my favourite actresses of the moment. Here they are starring together for the first time and they don’t disappoint. Whilst neither gets enough quality screentime to really hammer their roles home, both connect to the audience in different ways: Harris is heading for an ISS endurance record, and starting to mentally disconnect from earthly connections as his body also starts to atrophy. North, with a clear attraction to him, tries to hold both him and everything together with steely determination, while carrying more knowledge of the mission directives than anyone else has.
The supporting ensemble cast also work well, portraying a real mixture of nationalities from the cock-sure American played by Reynolds to the sultry Russian commander Golovkina, played by the lovely Olga Dihovichnaya. A special note should also be added in the margin for one of the most surprising portrayals of a disabled character in a recent film.
Unfortunately the material the actors get to deliver, by Rhett Reese and Paul Wernick (co-writers of “Deadpool” and “Zombieland”) doesn’t match their ability. The first 30 minutes or so of the film I found to be totally gripping, but even here some of the dialogue is sufficiently clunky to distract you from the ongoing narrative. Some of the rest of the dialogue becomes head-in-the-hands awful in places: a scene during a de-pressurization episode being particularly painful.
Some dodgy dialogue might be forgivable in an action movie if supported by a strong story. Unfortunately, while the premise of the film is sound (if not original), the story leaps from inconsistency to inconsistency from beginning to end. The writers never seem to settle on whether the ‘being’ needs oxygen, likes oxygen, likes hot, likes cold, etc. and this lack of credibility distracts from the whole film. While the screenplay delivers some seriously suspenseful moments, and some decent jump scares, this is not satisfactory enough to serve up a cohesive movie meal.
This is not helped by ‘bad science’. As I have commented upon before, I’m a physicist by training and unscientific scenes annoy me to distraction. I’ve had to learn to live with the basics of explosions and other ‘noise’ in space (something “Star Wars” started 40 years ago, damn those TIE fighters). But there is a scene in “Life” involving an airlock breach that just completely beggers belief, acted out as if it’s a stiff breeze on the front at Skegness! It’s almost – (almost) – as bonkers as the ‘reactor venting’ scene with Chris Pratt in “Passengers“.
However, the film has its strong points too. Like “Gravity”, this is another special effects triumph with the scenes outside the ISS being gorgeously rendered. “Gravity” was a clear 10/10; this is probably at least a 7, and a reason for seeing the film on the big screen. A key question though is why there wasn’t a 3D version of the film released? Heaven knows I’m no fan of 3D, but “Gravity” was one of the few films that was genuinely enhanced by the format: in fact it is currently the only 3D Blu-ray that I own!
In general, the whole film seems a little half-cocked and lacking in its own conviction. You wonder whether the production company (Skydance) got rather cold-feet about the film in releasing it when it did. Yes, “Deadpool” did very well with its February release, but this is a much more suitable film for a summer audience than a release in this post-Oscars doldrums.
In summary, its a moderately entertaining watch, but at heart just another retelling of the old ‘something nasty in the woodshed’ yarn that we’ve seen played out countless times before. Here though the swanky setting and special effects are diminished by a lack of credibility and consistency in the storytelling. Redemption was on hand though, for while it was heading for a middling 3-Fad rating, it managed to salvage another half Fad in the final 60 seconds: a memorable movie ending that might prove hard to beat during 2017.
Jake Gyllenhaal is one of my favourite actors with a raft of quality films in his CV such as “Nightcrawler” and last year’s hugely underrated (and almost Oscar-ignored) “Nocturnal Animals”. Rebecca Ferguson is also a class act and one of my favourite actresses of the moment. Here they are starring together for the first time and they don’t disappoint. Whilst neither gets enough quality screentime to really hammer their roles home, both connect to the audience in different ways: Harris is heading for an ISS endurance record, and starting to mentally disconnect from earthly connections as his body also starts to atrophy. North, with a clear attraction to him, tries to hold both him and everything together with steely determination, while carrying more knowledge of the mission directives than anyone else has.
The supporting ensemble cast also work well, portraying a real mixture of nationalities from the cock-sure American played by Reynolds to the sultry Russian commander Golovkina, played by the lovely Olga Dihovichnaya. A special note should also be added in the margin for one of the most surprising portrayals of a disabled character in a recent film.
Unfortunately the material the actors get to deliver, by Rhett Reese and Paul Wernick (co-writers of “Deadpool” and “Zombieland”) doesn’t match their ability. The first 30 minutes or so of the film I found to be totally gripping, but even here some of the dialogue is sufficiently clunky to distract you from the ongoing narrative. Some of the rest of the dialogue becomes head-in-the-hands awful in places: a scene during a de-pressurization episode being particularly painful.
Some dodgy dialogue might be forgivable in an action movie if supported by a strong story. Unfortunately, while the premise of the film is sound (if not original), the story leaps from inconsistency to inconsistency from beginning to end. The writers never seem to settle on whether the ‘being’ needs oxygen, likes oxygen, likes hot, likes cold, etc. and this lack of credibility distracts from the whole film. While the screenplay delivers some seriously suspenseful moments, and some decent jump scares, this is not satisfactory enough to serve up a cohesive movie meal.
This is not helped by ‘bad science’. As I have commented upon before, I’m a physicist by training and unscientific scenes annoy me to distraction. I’ve had to learn to live with the basics of explosions and other ‘noise’ in space (something “Star Wars” started 40 years ago, damn those TIE fighters). But there is a scene in “Life” involving an airlock breach that just completely beggers belief, acted out as if it’s a stiff breeze on the front at Skegness! It’s almost – (almost) – as bonkers as the ‘reactor venting’ scene with Chris Pratt in “Passengers“.
However, the film has its strong points too. Like “Gravity”, this is another special effects triumph with the scenes outside the ISS being gorgeously rendered. “Gravity” was a clear 10/10; this is probably at least a 7, and a reason for seeing the film on the big screen. A key question though is why there wasn’t a 3D version of the film released? Heaven knows I’m no fan of 3D, but “Gravity” was one of the few films that was genuinely enhanced by the format: in fact it is currently the only 3D Blu-ray that I own!
In general, the whole film seems a little half-cocked and lacking in its own conviction. You wonder whether the production company (Skydance) got rather cold-feet about the film in releasing it when it did. Yes, “Deadpool” did very well with its February release, but this is a much more suitable film for a summer audience than a release in this post-Oscars doldrums.
In summary, its a moderately entertaining watch, but at heart just another retelling of the old ‘something nasty in the woodshed’ yarn that we’ve seen played out countless times before. Here though the swanky setting and special effects are diminished by a lack of credibility and consistency in the storytelling. Redemption was on hand though, for while it was heading for a middling 3-Fad rating, it managed to salvage another half Fad in the final 60 seconds: a memorable movie ending that might prove hard to beat during 2017.
FearlessLover (27 KP) rated Dunkirk (2017) in Movies
Jul 31, 2017
Stunning cinea
It' s 1940, 400,000 allied troops are cornered and cut off on the beaches of Dunkirk; with the enemy closing in, and no cover or defence, they await annihilation or a miracle. We experience the moment as the characters do, without unnecessary exposition or dialogue! This proves quite the departure for Nolan; there is a lot here that owes more to silent cinema than anything else, but his images often say all that needs to be said.
An opening frame invites us to join a group of soldiers. Next, the loudest onslaught of gunfire kicks the film into another gear. We are given as much pause for thought as the soldiers we follow. We run with Tommy, played here by a Fionn Whitehead, and like him, we are aware of comrades falling dead next to us, but it is all panic and no time; we will lament their loss later. Set to the ticking of a watch, we feel Tommy's heart pounding with ours, and we know the tone for this audacious movie has been set.
We see the event from different perspectives and from within different time frames. Right now, not many directors can build momentum like Nolan. The jumping to and from different characters' point of view, the corkscrewing impression of the editing, events echoed and mirrored by Hans Zimmer's Shepherd's Tones and persistent, all enveloping score, acting at times more like sound design than music; it all results in a constant rise in tension, to the point of almost being exhaustive.
This said, the editing also serves another purpose. The "Miracle of Dunkirk" is a grand story, with every soldier, every pilot, and every civilian having their own point of view. Nolan wants us to build up an overall picture of the event purely through subjective experience, so of course we spend a tiring week with the terrified boys. Of course we spend a desperate day with a fisherman as he and his familial crew sail their way into action. Lastly, given the fuel constraints of the RAF, whose decisions had to be immediate and impulsive, always a choice between defending the beach or getting home, why would we spend any more that an edge-of-your-seat, quickly-cut hour in the cockpit of a Spitfire, as they do their duty and enter into dogfights to keep the German aircraft at bay? Each timeline is contracted or dilated to give everybody equal measure and importance, whilst staying true to and very much in their situation. Yes, this means we're kept on our toes; we have moments of confusion as timelines cross over and we see the same thing happening from another point of view, but as we head into the finale, as well as the aforementioned tension and release (which is just exciting cinema), we also get to see how, despite very different perspectives, everyone was working together, and how sacrifice and struggle for duty were par for the course for all involved, whether other people knew it or not. It is important that we the audience recognise this bigger picture, and as everything clicks together in an emotive final convergence of efforts, we not only see the justification for the techniques adopted, but struggle to imagine the story told another way. That is, at least, without going down a standard route, with objective storytelling employed.
A proper review not being complete without comment on the elephant in the room, it must be said that Harry Styles does not stand out like the proverbial sore thumb at all. Frankly, he carries his scenes with aplomb, and surely, following the Heath Ledger lesson, and now this, it is time we learned that, maybe, Christopher Nolan just knows what he's doing better that we do? As to the other big names, there are moments from that remain with me so long after having seen it: Kenneth Brannagh and Mark Rylance can say so much with so little, their faces and gestures doing the heavy lifting to deliver a lot of the human emotion, and it would appear Tom Hardy has Oscar-worthy eyes! You need see nothing more through the course of his drama to have a complete sense of the type of man his Farrier is. We talk about great acting and achieving realism through imagination, but with the knowledge that Nolan actually took everyone to Dunkirk, sank real ships, sailed real ships, flew real Spitfires overhead, employed real explosions on the beach, and even rejected green screen and CGI in favour of cardboard cut-outs, it seems imagination wasn't too necessary for these already consummate actors.
Nolan's principle fan base will be well prepared for what they get; but with his insistence on holding back from the audience any perspective not afforded his characters, ala 'Memento', some knowledge of the "Miracle Of Dunkirk" might put the more casual viewer in better stead. Regardless of which camp you fall into, or indeed of whether or not the movie does it for you, certain things are for sure: With no melodrama or cheese, and no superfluous fluff or emotional subterfuge, 'Dunkirk' is a purely experiential movie, a technical marvel of a war film unlike any other I can name. It also stands as a beacon in Nolan's career, characterised by his desire to cultivate an audience willing to keep up with him. And perhaps most importantly, this is a key moment in world history that is often overlooked; a disaster averted which, had it not been, would have seen the history books written very differently. That this event has been marshalled by a confident and sincere director, who has surely by now cemented his name alongside those of his own heroes, is reason enough to see 'Dunkirk'.
An opening frame invites us to join a group of soldiers. Next, the loudest onslaught of gunfire kicks the film into another gear. We are given as much pause for thought as the soldiers we follow. We run with Tommy, played here by a Fionn Whitehead, and like him, we are aware of comrades falling dead next to us, but it is all panic and no time; we will lament their loss later. Set to the ticking of a watch, we feel Tommy's heart pounding with ours, and we know the tone for this audacious movie has been set.
We see the event from different perspectives and from within different time frames. Right now, not many directors can build momentum like Nolan. The jumping to and from different characters' point of view, the corkscrewing impression of the editing, events echoed and mirrored by Hans Zimmer's Shepherd's Tones and persistent, all enveloping score, acting at times more like sound design than music; it all results in a constant rise in tension, to the point of almost being exhaustive.
This said, the editing also serves another purpose. The "Miracle of Dunkirk" is a grand story, with every soldier, every pilot, and every civilian having their own point of view. Nolan wants us to build up an overall picture of the event purely through subjective experience, so of course we spend a tiring week with the terrified boys. Of course we spend a desperate day with a fisherman as he and his familial crew sail their way into action. Lastly, given the fuel constraints of the RAF, whose decisions had to be immediate and impulsive, always a choice between defending the beach or getting home, why would we spend any more that an edge-of-your-seat, quickly-cut hour in the cockpit of a Spitfire, as they do their duty and enter into dogfights to keep the German aircraft at bay? Each timeline is contracted or dilated to give everybody equal measure and importance, whilst staying true to and very much in their situation. Yes, this means we're kept on our toes; we have moments of confusion as timelines cross over and we see the same thing happening from another point of view, but as we head into the finale, as well as the aforementioned tension and release (which is just exciting cinema), we also get to see how, despite very different perspectives, everyone was working together, and how sacrifice and struggle for duty were par for the course for all involved, whether other people knew it or not. It is important that we the audience recognise this bigger picture, and as everything clicks together in an emotive final convergence of efforts, we not only see the justification for the techniques adopted, but struggle to imagine the story told another way. That is, at least, without going down a standard route, with objective storytelling employed.
A proper review not being complete without comment on the elephant in the room, it must be said that Harry Styles does not stand out like the proverbial sore thumb at all. Frankly, he carries his scenes with aplomb, and surely, following the Heath Ledger lesson, and now this, it is time we learned that, maybe, Christopher Nolan just knows what he's doing better that we do? As to the other big names, there are moments from that remain with me so long after having seen it: Kenneth Brannagh and Mark Rylance can say so much with so little, their faces and gestures doing the heavy lifting to deliver a lot of the human emotion, and it would appear Tom Hardy has Oscar-worthy eyes! You need see nothing more through the course of his drama to have a complete sense of the type of man his Farrier is. We talk about great acting and achieving realism through imagination, but with the knowledge that Nolan actually took everyone to Dunkirk, sank real ships, sailed real ships, flew real Spitfires overhead, employed real explosions on the beach, and even rejected green screen and CGI in favour of cardboard cut-outs, it seems imagination wasn't too necessary for these already consummate actors.
Nolan's principle fan base will be well prepared for what they get; but with his insistence on holding back from the audience any perspective not afforded his characters, ala 'Memento', some knowledge of the "Miracle Of Dunkirk" might put the more casual viewer in better stead. Regardless of which camp you fall into, or indeed of whether or not the movie does it for you, certain things are for sure: With no melodrama or cheese, and no superfluous fluff or emotional subterfuge, 'Dunkirk' is a purely experiential movie, a technical marvel of a war film unlike any other I can name. It also stands as a beacon in Nolan's career, characterised by his desire to cultivate an audience willing to keep up with him. And perhaps most importantly, this is a key moment in world history that is often overlooked; a disaster averted which, had it not been, would have seen the history books written very differently. That this event has been marshalled by a confident and sincere director, who has surely by now cemented his name alongside those of his own heroes, is reason enough to see 'Dunkirk'.
KittyMiku (138 KP) rated Say You're Sorry in Books
May 23, 2019
Contains spoilers, click to show
Say Your Sorry by Melinda Leigh is a suspenseful murder mystery that keeps you guessing up to the very end. With all the characters involved in the story, the secrets and secrets and issues each character has, it isn't hard to find someone to hate, love, or relate to in one way or another. The severity of the crimes can be a little sickening, especially if you sometimes think of how that could happen to your or someone you love, but to watch how an innocent man is convicted the troubles he may face, as well as seeing how the law system can be wrong in some cases, can really bring light to how certain things can go on without anyone even knowing what is actually going on behind the sense.
I found that I really enjoyed watching Morgan and Lance, a private detective, investigate the crimes committed and pinned on a man. It helped solved a missing person's case and get other secrets revealed. In one particular case, a military veteran, who shot at Morgan and Lance, is found to be suffering from some mental issues. To see how killing someone, even though deployed, can really affect the mind of a man and break his spirit, was truly heart wrenching and yet real. It was very interesting to see how something in the news can trigger an onset of guilt and paranoia in such a brave man. It is characters and developments like this, that can make the story feel all to real and even hit close to home in some people. To have such details on how certain things can trigger certain emotions and outcomes in a variety of ways, made Leigh's storytelling a bit chilling.
It wasn't just a single character that made the book feel more life like, it was all the characters, the thoughts and ideas they had, and how they felt so convicted by what they thought and felt. Take Morgan for example, it is clear on many occasions in the beginning that she doesn't every want to be a defense attorney, but when someone she knows is arrested for a crime she believes he couldn't do, she is more than happy to get to the bottom of the story, even if she finds out the person is trying to protect is guilty. To have such strong feelings that you are willing to risk your dream career is truly a human feat as well as a desirable trait to have. I really found her to be someone to admire, even if fictional. It wasn't easy to see her struggle with the case or to even have images in her mind of her own little girls having been the victim, but it was something that made her all the more likeable. I feel that woman who work in law and who see the murder victims and crime photos think the same thing and find that having a character who would show this, makes it all the better. Even though the reader may know that this book was fictional, to have such real life emotions and thoughts put into the characters can make a book all more desirable to read. But it doesn't just stop there.
As the case unfolds, it is easy to see how a community can come together and even be judgmental based on what is said in the news and what is believed by those who are there to serve and protect the community was a pleasant surprised. Even though things were being rushed without a deeper investigation based on a few pieces of planted evidence and just a few ideas, it became clear that maybe things we see on the news or hear happen in our own communities aren't all that them seem to be. I am not dissing law enforcers, as I know they are overworked and spread thin as is, I am just saying sometimes just because something seems one way it isn't always the case. And to see a community go against one of their own because of how the media portrays things was slightly unsettling, even though it was accurate.
I also really enjoyed how there was some love interest between two characters who didn't feel ready for a relationship. We all know how hard it can to do deal with love after a loss of someone, whether the person died, or just left you. So it didn't come as shock to see Morgan struggle with her feelings when she realized they had been there, growing and waiting for her acknowledgment. However, to see someone so invested with taking care of their parent that they don't wish to burden another, was a even more of a delight. Though it was a very long battle of a will they won't they, I found it to be delightful and quite endearing. To want to be loved and cared for a is basic human want and in some case need, but to love someone in a way that you wouldn't want to have anything in your life burden them or create some kind of obstacle for them to hurdle over, was just delightful and pleasant to see.
Needless to say I could probably go on for days about all the things this particular book brings into light. With all the real world problems different characters had and everything else that made it feel all too real to be thought of as fictional, it was an extremely delightful read. I would rate this book 5 stars out of 5 stars for how will it portray how easily humanity can give up on itself and how it can take courage, determination and a bit of stubbornness to do exactly what you feel is right. I would recommend this book to anyone wanting to read a murder mystery.
I found that I really enjoyed watching Morgan and Lance, a private detective, investigate the crimes committed and pinned on a man. It helped solved a missing person's case and get other secrets revealed. In one particular case, a military veteran, who shot at Morgan and Lance, is found to be suffering from some mental issues. To see how killing someone, even though deployed, can really affect the mind of a man and break his spirit, was truly heart wrenching and yet real. It was very interesting to see how something in the news can trigger an onset of guilt and paranoia in such a brave man. It is characters and developments like this, that can make the story feel all to real and even hit close to home in some people. To have such details on how certain things can trigger certain emotions and outcomes in a variety of ways, made Leigh's storytelling a bit chilling.
It wasn't just a single character that made the book feel more life like, it was all the characters, the thoughts and ideas they had, and how they felt so convicted by what they thought and felt. Take Morgan for example, it is clear on many occasions in the beginning that she doesn't every want to be a defense attorney, but when someone she knows is arrested for a crime she believes he couldn't do, she is more than happy to get to the bottom of the story, even if she finds out the person is trying to protect is guilty. To have such strong feelings that you are willing to risk your dream career is truly a human feat as well as a desirable trait to have. I really found her to be someone to admire, even if fictional. It wasn't easy to see her struggle with the case or to even have images in her mind of her own little girls having been the victim, but it was something that made her all the more likeable. I feel that woman who work in law and who see the murder victims and crime photos think the same thing and find that having a character who would show this, makes it all the better. Even though the reader may know that this book was fictional, to have such real life emotions and thoughts put into the characters can make a book all more desirable to read. But it doesn't just stop there.
As the case unfolds, it is easy to see how a community can come together and even be judgmental based on what is said in the news and what is believed by those who are there to serve and protect the community was a pleasant surprised. Even though things were being rushed without a deeper investigation based on a few pieces of planted evidence and just a few ideas, it became clear that maybe things we see on the news or hear happen in our own communities aren't all that them seem to be. I am not dissing law enforcers, as I know they are overworked and spread thin as is, I am just saying sometimes just because something seems one way it isn't always the case. And to see a community go against one of their own because of how the media portrays things was slightly unsettling, even though it was accurate.
I also really enjoyed how there was some love interest between two characters who didn't feel ready for a relationship. We all know how hard it can to do deal with love after a loss of someone, whether the person died, or just left you. So it didn't come as shock to see Morgan struggle with her feelings when she realized they had been there, growing and waiting for her acknowledgment. However, to see someone so invested with taking care of their parent that they don't wish to burden another, was a even more of a delight. Though it was a very long battle of a will they won't they, I found it to be delightful and quite endearing. To want to be loved and cared for a is basic human want and in some case need, but to love someone in a way that you wouldn't want to have anything in your life burden them or create some kind of obstacle for them to hurdle over, was just delightful and pleasant to see.
Needless to say I could probably go on for days about all the things this particular book brings into light. With all the real world problems different characters had and everything else that made it feel all too real to be thought of as fictional, it was an extremely delightful read. I would rate this book 5 stars out of 5 stars for how will it portray how easily humanity can give up on itself and how it can take courage, determination and a bit of stubbornness to do exactly what you feel is right. I would recommend this book to anyone wanting to read a murder mystery.
Chris Sawin (602 KP) rated Kiss Kiss, Bang Bang (2005) in Movies
Jun 18, 2019
In the early to mid-2000s, Robert Downey Jr wasn’t one of the highest paid actors in the world. He was busy attempting to rebuild his career after five years of constant struggles with various drugs, being in and out of rehab, and even spent at least a year and a half incarcerated. With all of the films Downey did in that period, including Gothika, A Guide to Recognizing Your Saints, A Scanner Darkly, Zodiac, and Charlie Bartlett, perhaps none are as memorable as Shane Black’s directorial debut and neo-noir black comedy Kiss Kiss Bang Bang.
Harry Lockhart (Downey) is a thief that finds himself in a peculiar situation. After almost being apprehended by the police while breaking into a toy store, Harry stumbles into an audition and impresses everyone when his reading cuts a little too deep and is strangely accurate to Harry’s current situation. Now seen as some sort of acting prodigy, Harry finds himself in Los Angeles awaiting his screen test. He’s introduced to Gay Perry (Val Kilmer), a gay detective that’s hired to bestow his detective wisdom on Harry for his new on-screen role.
But before character development can truly begin, Harry is re-introduced to Harmony (Michelle Monaghan); a childhood friend and the girl-next-door-type who Harry considers to be the one that got away. However, Harry’s newfound luck is short-lived. While tagging along with Perry during one of his cases, the two of them witness two men in ski masks drive a car off a cliff and into a lake. They discover a woman with a broken neck in the trunk and the realization dawns on them that this is bigger than either of them could have ever imagined. With multiple cases suddenly being connected to one another and clues coming together to form bigger pieces of the puzzle, maybe Harry, Perry, and Harmony meeting each other is fate and not just a coincidence.
While Kiss Kiss Bang Bang is a noir film on the surface, it also has that buddy cop dynamic that Shane Black perfected with the likes of the Lethal Weapon films and The Nice Guys. The film has elements of mystery, comedy, action, and thriller genres for an overall experience that is entertaining on a variety of levels. Harry guides you as the narrator throughout the majority of the film and there are some intriguing storytelling techniques utilized to help get Harry’s perspective across. There’s a sequence where Harry realizes he’s forgotten to tell the audience an important piece of information and the film reel acts like it’s about to run off track before it pauses showing what looks like the film paused between two frames of a film reel. Kiss Kiss Bang Bang has a few elements like this that capitalizes on Harry’s quirks while he narrates that gives the film and the story a refreshing ambience.
This is Robert Downey Jr’s favorite film of his entire filmography and it’s difficult to argue with that. At a time when Downey was trying to rebound, stay sober, and prove that he was still a talented actor, Kiss Kiss Bang Bang benefits from all of his strengths. As Harry, Downey portrays nearly every emotion imaginable and this performance reminds you why he has always been held in such high regard. Unlike Iron Man 3 which seems to depreciate in repeat viewings, Kiss Kiss Bang Bang holds up extremely well for a film that is 10+ years old and should be considered as one of Shane Black’s strongest films in general and to date.
The one downside was the way the film was released theatrically. The film didn’t expand to more theaters after its opening weekend and underperformed at the box office, but did well overseas and was a big hit once it was released on DVD. The Gay Perry character is considered to be the first openly gay character to headline a major motion picture in Hollywood and Val Kilmer is in top form in the role. The chemistry he has with Robert Downey Jr is overwhelmingly entertaining while Perry’s agitation with Harry’s incompetence as a detective is hilariously brought to light by Kilmer’s memorable performance.
John Ottman’s score is the unseen cast member of Kiss Kiss Bang Bang that helps cement the noir vibe the film is aiming for. The jazz-infused compositions invoke a sense of mystery and intrigue in the viewer that sets the tone of the film perfectly. For proof of this, look no further than the film’s opening credits which simultaneously feel like an homage to other noir films while also offering something completely new.
Kiss Kiss Bang Bang isn’t as overlooked as it used to be, but it still doesn’t seem to have the reputation it deserves. The film is entertaining on so many levels and the performances from the cast are exceptional. The music is superb and the story constantly captivates; Shane Black couldn’t have dreamed of a better directorial debut.
Kiss Kiss Bang Bang is currently available to stream on Amazon Prime, YouTube, Google Play, and Vudu for $2.99 and iTunes for $3.99. The film is also free on Amazon Prime if you have Cinemax with Prime Video Channels. It is currently available on DVD for $8.49, Blu-ray for $16.99, and Multi-Format Blu-ray for $14.42 on Amazon. On eBay, the DVD is currently running $4.66 pre-owned and $4.50 brand new with free shipping and a brand new Blu-ray is $15.98 with free shipping.
Harry Lockhart (Downey) is a thief that finds himself in a peculiar situation. After almost being apprehended by the police while breaking into a toy store, Harry stumbles into an audition and impresses everyone when his reading cuts a little too deep and is strangely accurate to Harry’s current situation. Now seen as some sort of acting prodigy, Harry finds himself in Los Angeles awaiting his screen test. He’s introduced to Gay Perry (Val Kilmer), a gay detective that’s hired to bestow his detective wisdom on Harry for his new on-screen role.
But before character development can truly begin, Harry is re-introduced to Harmony (Michelle Monaghan); a childhood friend and the girl-next-door-type who Harry considers to be the one that got away. However, Harry’s newfound luck is short-lived. While tagging along with Perry during one of his cases, the two of them witness two men in ski masks drive a car off a cliff and into a lake. They discover a woman with a broken neck in the trunk and the realization dawns on them that this is bigger than either of them could have ever imagined. With multiple cases suddenly being connected to one another and clues coming together to form bigger pieces of the puzzle, maybe Harry, Perry, and Harmony meeting each other is fate and not just a coincidence.
While Kiss Kiss Bang Bang is a noir film on the surface, it also has that buddy cop dynamic that Shane Black perfected with the likes of the Lethal Weapon films and The Nice Guys. The film has elements of mystery, comedy, action, and thriller genres for an overall experience that is entertaining on a variety of levels. Harry guides you as the narrator throughout the majority of the film and there are some intriguing storytelling techniques utilized to help get Harry’s perspective across. There’s a sequence where Harry realizes he’s forgotten to tell the audience an important piece of information and the film reel acts like it’s about to run off track before it pauses showing what looks like the film paused between two frames of a film reel. Kiss Kiss Bang Bang has a few elements like this that capitalizes on Harry’s quirks while he narrates that gives the film and the story a refreshing ambience.
This is Robert Downey Jr’s favorite film of his entire filmography and it’s difficult to argue with that. At a time when Downey was trying to rebound, stay sober, and prove that he was still a talented actor, Kiss Kiss Bang Bang benefits from all of his strengths. As Harry, Downey portrays nearly every emotion imaginable and this performance reminds you why he has always been held in such high regard. Unlike Iron Man 3 which seems to depreciate in repeat viewings, Kiss Kiss Bang Bang holds up extremely well for a film that is 10+ years old and should be considered as one of Shane Black’s strongest films in general and to date.
The one downside was the way the film was released theatrically. The film didn’t expand to more theaters after its opening weekend and underperformed at the box office, but did well overseas and was a big hit once it was released on DVD. The Gay Perry character is considered to be the first openly gay character to headline a major motion picture in Hollywood and Val Kilmer is in top form in the role. The chemistry he has with Robert Downey Jr is overwhelmingly entertaining while Perry’s agitation with Harry’s incompetence as a detective is hilariously brought to light by Kilmer’s memorable performance.
John Ottman’s score is the unseen cast member of Kiss Kiss Bang Bang that helps cement the noir vibe the film is aiming for. The jazz-infused compositions invoke a sense of mystery and intrigue in the viewer that sets the tone of the film perfectly. For proof of this, look no further than the film’s opening credits which simultaneously feel like an homage to other noir films while also offering something completely new.
Kiss Kiss Bang Bang isn’t as overlooked as it used to be, but it still doesn’t seem to have the reputation it deserves. The film is entertaining on so many levels and the performances from the cast are exceptional. The music is superb and the story constantly captivates; Shane Black couldn’t have dreamed of a better directorial debut.
Kiss Kiss Bang Bang is currently available to stream on Amazon Prime, YouTube, Google Play, and Vudu for $2.99 and iTunes for $3.99. The film is also free on Amazon Prime if you have Cinemax with Prime Video Channels. It is currently available on DVD for $8.49, Blu-ray for $16.99, and Multi-Format Blu-ray for $14.42 on Amazon. On eBay, the DVD is currently running $4.66 pre-owned and $4.50 brand new with free shipping and a brand new Blu-ray is $15.98 with free shipping.
Darren (1599 KP) rated Alita: Battle Angel (2019) in Movies
Jun 20, 2019
Story: Alita: Battle Angel starts in the 26th century, Dr Dyson Ido (Waltz) searching for scraps locates the remaining parts of a cyborg, who has come from the city sky, he rebuilds her naming her Alita (Salazar) and teaches her about the world. Alita wants to learn for herself which happens when she meets Hugo (Johnson) who shows him the city.
Vector (Ali) being controlled by the villainous Nova is always seeking the best fighters to send to the city above, which attracts him to Alita knowing her abilities will give him even more power. Alita must learn about her past to fight for her future to become the hero she was always meant to be.
Thoughts on Alita: Battle Angel
Characters – Alita is the name given to the battle angel, she is from an older technology, one nobody understands one from before the great Fall. She is programmed to be like a teenager learning about the world, eager to take chance, before she learns about her fighting abilities, which will see her fight to keep her freedom and for love. This is an amazingly strong character that shows just how much motivation can come from learning one’s power. Dr Dyson Ido repairs the cyborgs, he has a heart of gold willing to help many, but he has a haunted past which gives him a secret life that Alita wants to be part off. Vector runs the city, if you want to get to the sky city, you must go through him, he knows the desire to get there and plays everybody on the idea he can make it happen. Chiren is Dyson’s ex-wife, she wants to get back to the sky city and sides with Vector to make this happen. Hugo is the young man rebel that shows Alita the city, teaches her dreams and sport. He does go against what Alita believes he is, as he like many others is dreaming of getting to the sky city. Zapan is one of the hunter warriors, used as the police within the city, they are bounty hunters who will kill for credits, he is considered the deadliest of them all and clashes with Alita.
Performances – Rosa Salazar bursts onto the scene with this performance that even though the character does feel like it is CGI, manages to give emotion through every event she learns about. Christoph Waltz shines in the doctor role, he keeps everything calm which is what is required for his character. Mahershala Ali bring a calm demanding villain to the heart of this film which will show he isn’t the strongest, but the smartest. Jennifer Connelly has the largest amount to go through with her character, she gets the chance to show us that she is the real deal. Ed Skrein does seem to bring us his Ajax from Deadpool figure, which is fine, des what the film needs. Keean Johnson completes the main cast and work in his role well have strong chemistry with Salazar.
Story – The story here follows a former warrior being bought back to life to learn of a new world that she wants to fight to bring down, while trying to learn about her past. Now, this does have source material, so I can’t say who did it first, but this does feel like a story we have seen before, an unlikely hero coming to save the day after being mentored by an older figure that wished to do the same thing himself, must overcome the odds and gain a following. This is a tried and tested story formula and it works very well with this one too. My big issue with the story comes from the time passage, certain things that happen seem to feel like they could be weeks or months, but they play out like days, only they can’t have been days, this is the biggest disappointment in the storytelling process.
Action/Adventure/Romance/Sci-Fi – The action in this movie is amazing, we get fight scenes with each combatant seemingly having a different ability which opens the doors for all possibilities too. The adventure side of the film comes from following Alita as she learns about herself, the world and her place in it. When we get to the romance side of the film this could turn people off at times, but it does show how people would be willing to fight for their unconditional love for somebody. The sci-fi concepts in this film comes from the creations, both in world and the cyborgs involved, we see a future world completely different to our own too.
Settings – Onto the best parts of the film, the settings, the city created here is one of the best you will ever see in a sci-fi film, each individual part of the city seems to have details to make us truly believe we are there.
Special Effects – The special effects are just breath-taking, nothing seems out of place in this world filled with cyborgs. Everything in this film will make you want to love cinema even more than you already do.
Scene of the Movie – The world we enter is just breath-taking.
That Moment That Annoyed Me – The nurse character, mostly because I felt we should have seen her do more (not the actress’s fault).
Final Thoughts – This is easily going to be the best visual film you will see in 2019, it might have a by the book story, but you will be left wanting to see more and more of this character in her battles.
Overall: Experience this on the big screen.
https://moviesreview101.com/2019/02/06/alita-battle-angel-2019/
Vector (Ali) being controlled by the villainous Nova is always seeking the best fighters to send to the city above, which attracts him to Alita knowing her abilities will give him even more power. Alita must learn about her past to fight for her future to become the hero she was always meant to be.
Thoughts on Alita: Battle Angel
Characters – Alita is the name given to the battle angel, she is from an older technology, one nobody understands one from before the great Fall. She is programmed to be like a teenager learning about the world, eager to take chance, before she learns about her fighting abilities, which will see her fight to keep her freedom and for love. This is an amazingly strong character that shows just how much motivation can come from learning one’s power. Dr Dyson Ido repairs the cyborgs, he has a heart of gold willing to help many, but he has a haunted past which gives him a secret life that Alita wants to be part off. Vector runs the city, if you want to get to the sky city, you must go through him, he knows the desire to get there and plays everybody on the idea he can make it happen. Chiren is Dyson’s ex-wife, she wants to get back to the sky city and sides with Vector to make this happen. Hugo is the young man rebel that shows Alita the city, teaches her dreams and sport. He does go against what Alita believes he is, as he like many others is dreaming of getting to the sky city. Zapan is one of the hunter warriors, used as the police within the city, they are bounty hunters who will kill for credits, he is considered the deadliest of them all and clashes with Alita.
Performances – Rosa Salazar bursts onto the scene with this performance that even though the character does feel like it is CGI, manages to give emotion through every event she learns about. Christoph Waltz shines in the doctor role, he keeps everything calm which is what is required for his character. Mahershala Ali bring a calm demanding villain to the heart of this film which will show he isn’t the strongest, but the smartest. Jennifer Connelly has the largest amount to go through with her character, she gets the chance to show us that she is the real deal. Ed Skrein does seem to bring us his Ajax from Deadpool figure, which is fine, des what the film needs. Keean Johnson completes the main cast and work in his role well have strong chemistry with Salazar.
Story – The story here follows a former warrior being bought back to life to learn of a new world that she wants to fight to bring down, while trying to learn about her past. Now, this does have source material, so I can’t say who did it first, but this does feel like a story we have seen before, an unlikely hero coming to save the day after being mentored by an older figure that wished to do the same thing himself, must overcome the odds and gain a following. This is a tried and tested story formula and it works very well with this one too. My big issue with the story comes from the time passage, certain things that happen seem to feel like they could be weeks or months, but they play out like days, only they can’t have been days, this is the biggest disappointment in the storytelling process.
Action/Adventure/Romance/Sci-Fi – The action in this movie is amazing, we get fight scenes with each combatant seemingly having a different ability which opens the doors for all possibilities too. The adventure side of the film comes from following Alita as she learns about herself, the world and her place in it. When we get to the romance side of the film this could turn people off at times, but it does show how people would be willing to fight for their unconditional love for somebody. The sci-fi concepts in this film comes from the creations, both in world and the cyborgs involved, we see a future world completely different to our own too.
Settings – Onto the best parts of the film, the settings, the city created here is one of the best you will ever see in a sci-fi film, each individual part of the city seems to have details to make us truly believe we are there.
Special Effects – The special effects are just breath-taking, nothing seems out of place in this world filled with cyborgs. Everything in this film will make you want to love cinema even more than you already do.
Scene of the Movie – The world we enter is just breath-taking.
That Moment That Annoyed Me – The nurse character, mostly because I felt we should have seen her do more (not the actress’s fault).
Final Thoughts – This is easily going to be the best visual film you will see in 2019, it might have a by the book story, but you will be left wanting to see more and more of this character in her battles.
Overall: Experience this on the big screen.
https://moviesreview101.com/2019/02/06/alita-battle-angel-2019/
Kirk Bage (1775 KP) rated Black Mirror - Season 3 in TV
Mar 3, 2020
Nosedive - 8
We had to wait almost another 2 years for the Netflix investment to show a product, and in time for Halloween 2016 we got the super-glossy re-boot of Nosedive, with a big name up front and lots of anticipation. The tone was instantly more playful; less British, more inclusive to a world audience. It tackled with a wry humour the universal phenomenon of popularity and everything being rated, most notably, people themselves. In a future world of sunshine and pastel shades it has become the norm to rate every interaction, from buying coffee to buying a house, in the hope of becoming one of the beautiful people rated above a 4.5. It cleverly questions the motivations for that desire, and the pitfalls of false behaviour and the manipulation from an elite standpoint. It isn’t necessary to imagine this future, as we are virtually there already, and all this episode does is heighten the idea to hyperbolic proportions. Rated down by many viewers because it is “annoying”, but that is entirely the point: the whole thing makes you want to scream!
Playtest - 6.5
Also available for Halloween (as was the whole season, in standard Netflix style) came a chance to explore what really scares us! And… they blew it. Sure, the idea that gaming and VR becomes so photo realistic it seems entirely real isn’t far away. But, making it personal to a very annoying character dissolves all tension quite early on. Some mild jump scares aside, this has to go down as a missed opportunity. Notable only for the re-occurance of the White Bear symbol.
Shut Up and Dance - 7
This is the one most likely to make you think, hmm, that is too far! An uncomfortable episode, not only because of the subject matter and ultimate revelation, but because of the intense nastiness that pervades it. No doubt that tension is intentional, and therefore effective to a degree, but for me it crosses the line of entertainment and becomes simply nasty. Being unafraid to tackle controversial subjects is to be applauded, but the execution has to be note perfect, or the risk is the backlash this episode received. A cautionary tale about surveillance, data theft, blackmail and our personal online responsibility. Not a bad piece, just a slight misjudgment on tone and delivery.
San Junipero - 9.5
Just when critics were sharpening their pens that Netflix had ruined the potential of Black Mirror in its first phase, comes an almost perfect piece of TV that is literally heavenly! Everything about San Junipero is a work of art! Another “blind” episode that takes a while to unravel; the pacing and realisation of which is so beautifully judged that, from a writing point of view, this has to be seen as the pinnacle of the show to date. Mackenzie Davis is extraordinary as the vulnerable, shy and naive Yorkie, looking for a connection in an 80s nightclub, filled with nostalgia and cultural memes galore. The music alone is not only sing aloud perfect, but chosen for storytelling reasons so clever it raises goosebumps! The relationship between Yorkie and Kelly, an equally great Gugu Mbatha-Raw, is filled with chemistry and nuance, drawing us in to a place so deep that when the penny drops on what is really going on it draws a gasp and then possibly tears – I know it did for me! The mechanics of the technology that would make this story possible does raise a lot of questions, but in the end it is better to accept it as an allegory for love, life and our ideas of “eternity”. Don’t look too deeply at the how, but marvel at the why, and this could be the best hour of TV you will ever see! So rewatchable, rich and rewarding; the only reason not to make this a feature length big budget film is that how could it possibly be improved?
Men Against Fire - 7
Revisiting yet again the technology of a brain implant that affects our vision of the world, literally and figuratively, this episode explores indoctrination and brainwashing, with the underlying themes of racism and basic human compassion. It is a fine analogy of how the media and governments would have us think of immigrants and the “dangers” of anything “not us”. A tad obvious, and doesn’t really go anywhere new once the twist is revealed. Visually quite stunning, but not as strong as other episodes that cover similar ground.
Hated in the Nation - 8.5
With a running time of 89 minutes, this is essentially what happens when Black Mirror pushes an idea to feature length. Allowing more time for character development does make a difference, and the tension build in this fine concept for a thriller also benefits from a few extra minutes. The ever reliable Kelly MacDonald is the cornerstone of a strong cast, on the hunt for the mind behind a series of killings by killer bee drones, targeted at a democratically elected “most hated” person every day, based on a public vote. An exploration of media vilification and how easy it can be to manipulate our idea of someone’s identity and judge their actions and even personalities based on one wrong thing they may have said or done. The episode is a who-dunnit? A why-doit? And, framed, with the backdrop of the inquest surrounding events, both a good cop movie and a courtroom drama. Charlie Brooker has hinted that some of these characters may return at some point. I’m all for it.
We had to wait almost another 2 years for the Netflix investment to show a product, and in time for Halloween 2016 we got the super-glossy re-boot of Nosedive, with a big name up front and lots of anticipation. The tone was instantly more playful; less British, more inclusive to a world audience. It tackled with a wry humour the universal phenomenon of popularity and everything being rated, most notably, people themselves. In a future world of sunshine and pastel shades it has become the norm to rate every interaction, from buying coffee to buying a house, in the hope of becoming one of the beautiful people rated above a 4.5. It cleverly questions the motivations for that desire, and the pitfalls of false behaviour and the manipulation from an elite standpoint. It isn’t necessary to imagine this future, as we are virtually there already, and all this episode does is heighten the idea to hyperbolic proportions. Rated down by many viewers because it is “annoying”, but that is entirely the point: the whole thing makes you want to scream!
Playtest - 6.5
Also available for Halloween (as was the whole season, in standard Netflix style) came a chance to explore what really scares us! And… they blew it. Sure, the idea that gaming and VR becomes so photo realistic it seems entirely real isn’t far away. But, making it personal to a very annoying character dissolves all tension quite early on. Some mild jump scares aside, this has to go down as a missed opportunity. Notable only for the re-occurance of the White Bear symbol.
Shut Up and Dance - 7
This is the one most likely to make you think, hmm, that is too far! An uncomfortable episode, not only because of the subject matter and ultimate revelation, but because of the intense nastiness that pervades it. No doubt that tension is intentional, and therefore effective to a degree, but for me it crosses the line of entertainment and becomes simply nasty. Being unafraid to tackle controversial subjects is to be applauded, but the execution has to be note perfect, or the risk is the backlash this episode received. A cautionary tale about surveillance, data theft, blackmail and our personal online responsibility. Not a bad piece, just a slight misjudgment on tone and delivery.
San Junipero - 9.5
Just when critics were sharpening their pens that Netflix had ruined the potential of Black Mirror in its first phase, comes an almost perfect piece of TV that is literally heavenly! Everything about San Junipero is a work of art! Another “blind” episode that takes a while to unravel; the pacing and realisation of which is so beautifully judged that, from a writing point of view, this has to be seen as the pinnacle of the show to date. Mackenzie Davis is extraordinary as the vulnerable, shy and naive Yorkie, looking for a connection in an 80s nightclub, filled with nostalgia and cultural memes galore. The music alone is not only sing aloud perfect, but chosen for storytelling reasons so clever it raises goosebumps! The relationship between Yorkie and Kelly, an equally great Gugu Mbatha-Raw, is filled with chemistry and nuance, drawing us in to a place so deep that when the penny drops on what is really going on it draws a gasp and then possibly tears – I know it did for me! The mechanics of the technology that would make this story possible does raise a lot of questions, but in the end it is better to accept it as an allegory for love, life and our ideas of “eternity”. Don’t look too deeply at the how, but marvel at the why, and this could be the best hour of TV you will ever see! So rewatchable, rich and rewarding; the only reason not to make this a feature length big budget film is that how could it possibly be improved?
Men Against Fire - 7
Revisiting yet again the technology of a brain implant that affects our vision of the world, literally and figuratively, this episode explores indoctrination and brainwashing, with the underlying themes of racism and basic human compassion. It is a fine analogy of how the media and governments would have us think of immigrants and the “dangers” of anything “not us”. A tad obvious, and doesn’t really go anywhere new once the twist is revealed. Visually quite stunning, but not as strong as other episodes that cover similar ground.
Hated in the Nation - 8.5
With a running time of 89 minutes, this is essentially what happens when Black Mirror pushes an idea to feature length. Allowing more time for character development does make a difference, and the tension build in this fine concept for a thriller also benefits from a few extra minutes. The ever reliable Kelly MacDonald is the cornerstone of a strong cast, on the hunt for the mind behind a series of killings by killer bee drones, targeted at a democratically elected “most hated” person every day, based on a public vote. An exploration of media vilification and how easy it can be to manipulate our idea of someone’s identity and judge their actions and even personalities based on one wrong thing they may have said or done. The episode is a who-dunnit? A why-doit? And, framed, with the backdrop of the inquest surrounding events, both a good cop movie and a courtroom drama. Charlie Brooker has hinted that some of these characters may return at some point. I’m all for it.
Gareth von Kallenbach (980 KP) rated X-Men: First Class (2011) in Movies
Aug 7, 2019
When the “X-Men:The Last Stand” failed to score big with critics and audiences in 2006, many fans began to wonder if they would ever see their favorite mutant superhero team on screen anytime soon. Despite mixed reviews, 2009’s standalone film “Wolverine“, did sufficient box office numbers to warrant a sequel which is currently in development, indicating that the likely future of the series was with standalone character films.
Then 20th Century Fox decided to tell a team-based origin story that focuses on the early days of the X-Men and how they became the team that they are today. This is a bit of a controversial move as it involves recasting several roles to play younger versions of beloved characters.
The result is X-Men: First Class which stars Scottish actor James McAvoy as Charles Xavier, a brilliant young academic who hides his unique and amazing telepathic gifts from the world. When a chance encounter proves to Charles that there are others in the world who share his gifts he dedicates his studies to unlocking the mysteries of genetic mutations and their possibilities.
At the same time a young man named Eric Lehnsherr (Michael Fassbender), has embarked on a path of destruction and revenge against those who wronged and tormented him and his family during the Nazi occupation of their native Poland. Eric’s main target is man who now calls himself Sebastian Shaw (Kevin Bacon), who has surrounded himself with a team of skilled mutants and is manipulating US and Russia to the brink of nuclear war, for his own evil purposes.
When CIA Agent MacTaggart (Rose Byrne), learns of Shaw’s plans, she recruits Xavier, not knowing that he and his friend Raven (Jennifer Lawrence) are mutants themselves, with the hopes of understanding their new enemy and mounting a proper defense.
When the truth of his true nature is revealed, Charles teems with MacTaggart and scientist Hank McCoy (Nicholas Hoult), to locate and recruit other gifted individuals to their cause. Fate steps in when Erik and Charles meet and eventually become friends over there mutual pursuit of Shaw. Despite a great deal of understanding between the two individuals, Eric is intent upon killing Shaw. He warns his new friend not to trust humans, as his time under Nazi control taught him that it’s only a matter of time until he and his fellow mutants are targeted for extinction by the world. Despite this the Eric and Charles recruit and train a team to prepare to face Shaw and his followers, with the fate of the world hanging in the balance.
The film starts off well and it was very enjoyable to see a deeper side of the characters. From young Charles hitting on women in bars and making jokes about losing his full head of hair to the deadly side of Eric and his abilities as well as the early relationship between the iconic characters. Somewhere along the way the film loses its initial momentum as the plot of the film takes a while to get going. As good as the cast is, they need something to do and after numerous debates and a few training and recruitment segments the film became somewhat boring. There simply was not a lot of action to sustain the plot.
Kevin Bacon was an interesting choice for the villain. He did a good job, although watching him strut around I kept expecting him to break into dance at any moment. Another issue I had was that some of the supporting characters were basically throwaway as I cared little about their stories and outcomes. Only the characters of Raven, Eric, and Charles held any real interest for me and watching their interplay with one another was one of the strong points of the film.
As the film move toward the finale there were several things about it that did not work for me starting with the makeup for The Beast. Complete with spectacles it was almost a laughable look that brought to mind Jason Bateman in “Teen Wolf 2“. The fact that the character was annoying as well did very little to help.
The biggest issue I had with the film was that after all this buildup the finale was actually very ho-hum and while it did contain some visually nice moments, I do not feel the action balanced with the storytelling, certainly not to the extent that audiences expect from nor require of a summer blockbuster.
There are a couple of moments in the film that will certainly be questioned by fans of the series as well as scenes which conflict with information from the earlier films in the series. It seems certain elements of continuity have been omitted for creative license. I will not spoil those here but suffice it to say that if my wife, who is a casual fan of the series, was able to note conflicts and discrepancies between this film and a previous film, then certainly hard-core fans may have some real issues.
The film does a good job with explaining the origin and nature of the characters, but fails to provide an adventure worthy of the effort and instead plays out in a very underwhelming fashion. Director Matthew Vaughn proved himself highly adept with adventure films when he produced “Kick Ass“, and other action-oriented films. He is clearly a fan of comics and action and I would love to have seen what could’ve resulted had he been given carte blanche with the film.
In the end, “X-Men: First Class“, for me was more entertaining than the previous ensemble films, but fails to live up to its potential and severely lacks enough action to sustain the early momentum of the film.
Then 20th Century Fox decided to tell a team-based origin story that focuses on the early days of the X-Men and how they became the team that they are today. This is a bit of a controversial move as it involves recasting several roles to play younger versions of beloved characters.
The result is X-Men: First Class which stars Scottish actor James McAvoy as Charles Xavier, a brilliant young academic who hides his unique and amazing telepathic gifts from the world. When a chance encounter proves to Charles that there are others in the world who share his gifts he dedicates his studies to unlocking the mysteries of genetic mutations and their possibilities.
At the same time a young man named Eric Lehnsherr (Michael Fassbender), has embarked on a path of destruction and revenge against those who wronged and tormented him and his family during the Nazi occupation of their native Poland. Eric’s main target is man who now calls himself Sebastian Shaw (Kevin Bacon), who has surrounded himself with a team of skilled mutants and is manipulating US and Russia to the brink of nuclear war, for his own evil purposes.
When CIA Agent MacTaggart (Rose Byrne), learns of Shaw’s plans, she recruits Xavier, not knowing that he and his friend Raven (Jennifer Lawrence) are mutants themselves, with the hopes of understanding their new enemy and mounting a proper defense.
When the truth of his true nature is revealed, Charles teems with MacTaggart and scientist Hank McCoy (Nicholas Hoult), to locate and recruit other gifted individuals to their cause. Fate steps in when Erik and Charles meet and eventually become friends over there mutual pursuit of Shaw. Despite a great deal of understanding between the two individuals, Eric is intent upon killing Shaw. He warns his new friend not to trust humans, as his time under Nazi control taught him that it’s only a matter of time until he and his fellow mutants are targeted for extinction by the world. Despite this the Eric and Charles recruit and train a team to prepare to face Shaw and his followers, with the fate of the world hanging in the balance.
The film starts off well and it was very enjoyable to see a deeper side of the characters. From young Charles hitting on women in bars and making jokes about losing his full head of hair to the deadly side of Eric and his abilities as well as the early relationship between the iconic characters. Somewhere along the way the film loses its initial momentum as the plot of the film takes a while to get going. As good as the cast is, they need something to do and after numerous debates and a few training and recruitment segments the film became somewhat boring. There simply was not a lot of action to sustain the plot.
Kevin Bacon was an interesting choice for the villain. He did a good job, although watching him strut around I kept expecting him to break into dance at any moment. Another issue I had was that some of the supporting characters were basically throwaway as I cared little about their stories and outcomes. Only the characters of Raven, Eric, and Charles held any real interest for me and watching their interplay with one another was one of the strong points of the film.
As the film move toward the finale there were several things about it that did not work for me starting with the makeup for The Beast. Complete with spectacles it was almost a laughable look that brought to mind Jason Bateman in “Teen Wolf 2“. The fact that the character was annoying as well did very little to help.
The biggest issue I had with the film was that after all this buildup the finale was actually very ho-hum and while it did contain some visually nice moments, I do not feel the action balanced with the storytelling, certainly not to the extent that audiences expect from nor require of a summer blockbuster.
There are a couple of moments in the film that will certainly be questioned by fans of the series as well as scenes which conflict with information from the earlier films in the series. It seems certain elements of continuity have been omitted for creative license. I will not spoil those here but suffice it to say that if my wife, who is a casual fan of the series, was able to note conflicts and discrepancies between this film and a previous film, then certainly hard-core fans may have some real issues.
The film does a good job with explaining the origin and nature of the characters, but fails to provide an adventure worthy of the effort and instead plays out in a very underwhelming fashion. Director Matthew Vaughn proved himself highly adept with adventure films when he produced “Kick Ass“, and other action-oriented films. He is clearly a fan of comics and action and I would love to have seen what could’ve resulted had he been given carte blanche with the film.
In the end, “X-Men: First Class“, for me was more entertaining than the previous ensemble films, but fails to live up to its potential and severely lacks enough action to sustain the early momentum of the film.
Gareth von Kallenbach (980 KP) rated T2 Trainspotting (2017) in Movies
Jul 12, 2019
The first time I saw Trainspotting was my senior year of high school. At the time, I knew that I wanted to get involved in film, and I really did for about ¾ of a year after I graduated. I looked at movies for their artistry and cinematography even at a young age. I was a band geek, so music was also things I would love about movies. I was deep for a 17-year-old, or so I thought any way. But I explain this to you so you don’t think that I loved this movie simply because of the drug use or humor it presented. I have always been of the mind to find something I like about a movie, watch it for what it is, and try to just find the enjoyment value (I know, weird coming from a film reviewer). I didn’t even have to try for Trainspotting. It was the complete package, and ground breaking. It also introduced me to Ewan McGregor, who is one of my favorite actors. I loved the movie so much, I bought Irvine Welsh’s book that the movie was based on of the same title, Trainspotting, which I highly recommend simply for the fact that it’s written in phonetic Scottish. I never picked up Porno, the literary sequel to Trainspotting, but I hear it is bizarre and will need to pick it up, but not because of this movie. I’ll explain in a moment.
Naturally, when the announcement was made for a second Trainspotting movie, I was both excited and terrified at the same time. The first was so good, why did Hollywood need to ruin it with a sequel that has a bigger budget. What was promising was that it was announced that the entire cast of characters (that survived from the first film) would be back, including Diane (Kelly MacDonald). But it’s been 20 years. Typically, when you see sequels come out even after only 10 years, the whole film seems a contrite, forced replication of the first. Hell, look at all the criticism for the Hangover films being exactly that, and they were only a few years apart. Whether the script feels forced just for the sake of a sequel, or the actors are trying too hard to be the character they played many years prior, it never quite works. So, as we neared the release date, I was getting more and more weary of seeing the film. Then, the trailer dropped.
Damn the trailer looked good. And I will tell you, the movie did not fall into the trap of forced sequels. The main cast came back and played the characters perfectly. Not as they were, but as the people they grew to be over the 20-year period. The plot was fun and pointless, with all of the same charm as its predecessor. I saw the movie with fellow SKNR staffer Joshua Aja, and we had a pretty good conversation following the film. We both came to the same conclusion, that neither of us could remember the last time we saw a film that just that good.
So now to the actual meat of the review itself. What was the movie about? Well, I won’t give away too much, but I will give you a quick recap of the events leading up to this film. Basically, do you remember the end of Trainspotting? Renton (Ewan McGregor), Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller), and Begbie (Robert Carlyle) had successfully pulled off a heist, and Renton was making off with the money while everyone slept, except Spud of course who saw Renton leaving but didn’t say anything. As a result, Renton left Spud’s share of the cash for him in a locker. Okay; all caught up.
T2 Trainspotting picks up 20 years later. Renton comes back to Scotland because his mother passed away, he ends up reuniting with Spud, and eventually Sick Boy, who we now know by his real name, Simon. Begbie is in prison because, well… he’s Begbie, but he doesn’t stay there long. Tempers fly, old feelings flare, and not every reunited moment is met with glee. But soon enough, Renton, Simon and Spud are drawn into old habits, though not old drugs, and start to build money up to open a ‘sauna’ (read: undercover brothel) for Simon’s girlfriend, Veronika (Angela Nedyalkova). It’s not long before Begbie shows up and starts mucking things up leading to a suspenseful conclusion between Renton, Simon and Begbie.
That’s all I can say. There was an excellent use of the history from the first film, and of course we get another fantastic ‘Choose Life’ speech from Renton. The soundtrack, while not quite as good as the first, still holds its own very well. And be sure to look for the Bowie tribute, since it was he who helped Danny Boyle obtain a lot of music rights on the cheap for the first film. And, you will find Spud’s writings throughout the movie to be lifted, verbatim, from the Trainspotting by Irvine Welsh. But what’s interesting, is that there is not a lot that relates this film to the literary sequel, Porno. Much of the plot of this film is taken from, or at least inspired by, parts of the book that were not used in the first film. That combined with some new writing and storytelling from Irvine Welsh and John Hodge.
Bottom line: if you liked the Trainspotting even in the slightest, you will absolutely enjoy T2 Trainspotting. A phenomenal job by cast, crew, and writers, and an excellent soundtrack will leave you wanting a trilogy. This is only the third film I have given a perfect score to in my 7 years of reviewing films, and it is well deserved. Go see this movie.
Naturally, when the announcement was made for a second Trainspotting movie, I was both excited and terrified at the same time. The first was so good, why did Hollywood need to ruin it with a sequel that has a bigger budget. What was promising was that it was announced that the entire cast of characters (that survived from the first film) would be back, including Diane (Kelly MacDonald). But it’s been 20 years. Typically, when you see sequels come out even after only 10 years, the whole film seems a contrite, forced replication of the first. Hell, look at all the criticism for the Hangover films being exactly that, and they were only a few years apart. Whether the script feels forced just for the sake of a sequel, or the actors are trying too hard to be the character they played many years prior, it never quite works. So, as we neared the release date, I was getting more and more weary of seeing the film. Then, the trailer dropped.
Damn the trailer looked good. And I will tell you, the movie did not fall into the trap of forced sequels. The main cast came back and played the characters perfectly. Not as they were, but as the people they grew to be over the 20-year period. The plot was fun and pointless, with all of the same charm as its predecessor. I saw the movie with fellow SKNR staffer Joshua Aja, and we had a pretty good conversation following the film. We both came to the same conclusion, that neither of us could remember the last time we saw a film that just that good.
So now to the actual meat of the review itself. What was the movie about? Well, I won’t give away too much, but I will give you a quick recap of the events leading up to this film. Basically, do you remember the end of Trainspotting? Renton (Ewan McGregor), Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller), and Begbie (Robert Carlyle) had successfully pulled off a heist, and Renton was making off with the money while everyone slept, except Spud of course who saw Renton leaving but didn’t say anything. As a result, Renton left Spud’s share of the cash for him in a locker. Okay; all caught up.
T2 Trainspotting picks up 20 years later. Renton comes back to Scotland because his mother passed away, he ends up reuniting with Spud, and eventually Sick Boy, who we now know by his real name, Simon. Begbie is in prison because, well… he’s Begbie, but he doesn’t stay there long. Tempers fly, old feelings flare, and not every reunited moment is met with glee. But soon enough, Renton, Simon and Spud are drawn into old habits, though not old drugs, and start to build money up to open a ‘sauna’ (read: undercover brothel) for Simon’s girlfriend, Veronika (Angela Nedyalkova). It’s not long before Begbie shows up and starts mucking things up leading to a suspenseful conclusion between Renton, Simon and Begbie.
That’s all I can say. There was an excellent use of the history from the first film, and of course we get another fantastic ‘Choose Life’ speech from Renton. The soundtrack, while not quite as good as the first, still holds its own very well. And be sure to look for the Bowie tribute, since it was he who helped Danny Boyle obtain a lot of music rights on the cheap for the first film. And, you will find Spud’s writings throughout the movie to be lifted, verbatim, from the Trainspotting by Irvine Welsh. But what’s interesting, is that there is not a lot that relates this film to the literary sequel, Porno. Much of the plot of this film is taken from, or at least inspired by, parts of the book that were not used in the first film. That combined with some new writing and storytelling from Irvine Welsh and John Hodge.
Bottom line: if you liked the Trainspotting even in the slightest, you will absolutely enjoy T2 Trainspotting. A phenomenal job by cast, crew, and writers, and an excellent soundtrack will leave you wanting a trilogy. This is only the third film I have given a perfect score to in my 7 years of reviewing films, and it is well deserved. Go see this movie.