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Gareth von Kallenbach (980 KP) rated Fantastic Four (2005) in Movies
Aug 14, 2019
In 1994, a low budget film was created in order to preserve the film rights to one of Marvel Comics popular series The Fantastic 4. Created by comic legend Stan Lee, the comic tells the ongoing tales of four people who were endowed with amazing powers after accidental exposure to an element in space.
The film was never released and has gone on to become a popular bootleg amongst comic fans. The ensuing rights for the film were also sold, and for almost a decade Fox has worked in bringing the comic to the big screen.
After years of languishing, the film finally got on the fast track and under the helm of Director Tim Story and features a dynamic cast headed by some of the biggest emerging superstars in Hollywood.
Ioan Gruffudd stars as Reed Richards, a brilliant yet recently bankrupt scientist who, along with his friend Ben Grimm (Michael Chiklis), is visiting famed scientist Victor Von Doom (Julian Mc Mahon), in an effort to get his latest venture funded.
Reed is convinced that an approaching storm in space is the key to unlocking vast amounts of genetic secrets and that the shielding on Doom’s space station allows for safe study of the very rare phenomenon.
Doom agrees to the venture in exchange for 75% of all revenue generated from the findings and that he gets to assign certain people to the mission. Among them are Sue Storm (Jessica Alba), and her pilot brother Johnny (Chris Evans). The fact that Sue is Reed’s ex is a source of tension within the group, as she is obviously still hurt and bitter over Reed’s inability to look at her and life in ways that are not based upon analytical science.
Despite the issues, the crew arrives at the station and the test is going according to plan. That is until an unexpected situation arises, which causes the team to get caught in the storm with the shields lowered, exposing them all to the storm’s radiation.
Back on earth, the crew awakens to find themselves in quarantine and suffering no ill effects from the accident. The failure of the mission is of great concern for Doom. His investors are using this as a reason to pull their support, which in turn is causing his stock to drop rapidly.
In time, Reed, Sue, Johnny, and Ben start to show amazing abilities resulting from their exposure to the storm. Johnny can become a human fireball, Reed can stretch his body to amazing lengths, Sue can become invisible and project force fields, and Ben has become a living wall of rock, capable of great feats of strength.
Since Ben is no longer able to pass as a human, he feels like a freak and is shunned by his wife, causing him much anger and depression. It is due to this that the team becomes noticed by the media who dub them the Fantastic 4 after watching them in action.
The resulting fame causes the team to withdraw, save for Johnny who basks in the glory and attention heaped upon him. It is against this changing dynamic that the team must find a way to restore themselves to their normal state and to discover what is causing their new found abilities.
The Fantastic 4 are not the only ones who changed. Doom is becoming more and more angry and violent as he blames Reed for the failure of his company. Victor also has the ability to hurl deadly bolts of energy from his body which is quickly becoming metallic.
As fans of the comic know, it will not take long for Doom and the Fantastic 4 to face off, paving the way for a final confrontation. While I went in not expecting much from the film, I must say I was surprised. Yes, the film has a thin plot, and fairly basic characters and action, but it is also above all fun.
The dynamic between the characters is enjoyable, as is the humor which accurately captures the tone and feel of the comic. Some purists will take exception with some of the liberties taken, such as Doom being on the trip to space and other variations on his character which are not part of the original comic.
Alba and Evans tend to come off at times as airheads but they stay true to their characters throughout. Gruffudd plays Reed with modesty and charm that works well in the film and shows that he is a star on the rise. Praise should be heaped upon Chiklis and McMahon who could easily have become lost behind their costumes. Theygive very human and compelling performances. Chiklis captures the duality of Grimm as he battles his despair over his physical appearance with his desire to do what is right. McMahon does riveting work as the man pushed over the edge and becomes fueled by a desire for revenge and power. The fury and evil upon his face and in his walk shows him as a man of menace and danger.
I for one would have liked to have seen a bit more action in the film but as it stands, it is not as bad as some of the trailers hinted that it might be. If you do not mind thin plots and characters, you may be able to sit back and enjoy this film for what it is, a simple summer escape. Here is hoping that we will see the “Fantastic 4” up on the big screen as the next franchise series from Marvel.
The film was never released and has gone on to become a popular bootleg amongst comic fans. The ensuing rights for the film were also sold, and for almost a decade Fox has worked in bringing the comic to the big screen.
After years of languishing, the film finally got on the fast track and under the helm of Director Tim Story and features a dynamic cast headed by some of the biggest emerging superstars in Hollywood.
Ioan Gruffudd stars as Reed Richards, a brilliant yet recently bankrupt scientist who, along with his friend Ben Grimm (Michael Chiklis), is visiting famed scientist Victor Von Doom (Julian Mc Mahon), in an effort to get his latest venture funded.
Reed is convinced that an approaching storm in space is the key to unlocking vast amounts of genetic secrets and that the shielding on Doom’s space station allows for safe study of the very rare phenomenon.
Doom agrees to the venture in exchange for 75% of all revenue generated from the findings and that he gets to assign certain people to the mission. Among them are Sue Storm (Jessica Alba), and her pilot brother Johnny (Chris Evans). The fact that Sue is Reed’s ex is a source of tension within the group, as she is obviously still hurt and bitter over Reed’s inability to look at her and life in ways that are not based upon analytical science.
Despite the issues, the crew arrives at the station and the test is going according to plan. That is until an unexpected situation arises, which causes the team to get caught in the storm with the shields lowered, exposing them all to the storm’s radiation.
Back on earth, the crew awakens to find themselves in quarantine and suffering no ill effects from the accident. The failure of the mission is of great concern for Doom. His investors are using this as a reason to pull their support, which in turn is causing his stock to drop rapidly.
In time, Reed, Sue, Johnny, and Ben start to show amazing abilities resulting from their exposure to the storm. Johnny can become a human fireball, Reed can stretch his body to amazing lengths, Sue can become invisible and project force fields, and Ben has become a living wall of rock, capable of great feats of strength.
Since Ben is no longer able to pass as a human, he feels like a freak and is shunned by his wife, causing him much anger and depression. It is due to this that the team becomes noticed by the media who dub them the Fantastic 4 after watching them in action.
The resulting fame causes the team to withdraw, save for Johnny who basks in the glory and attention heaped upon him. It is against this changing dynamic that the team must find a way to restore themselves to their normal state and to discover what is causing their new found abilities.
The Fantastic 4 are not the only ones who changed. Doom is becoming more and more angry and violent as he blames Reed for the failure of his company. Victor also has the ability to hurl deadly bolts of energy from his body which is quickly becoming metallic.
As fans of the comic know, it will not take long for Doom and the Fantastic 4 to face off, paving the way for a final confrontation. While I went in not expecting much from the film, I must say I was surprised. Yes, the film has a thin plot, and fairly basic characters and action, but it is also above all fun.
The dynamic between the characters is enjoyable, as is the humor which accurately captures the tone and feel of the comic. Some purists will take exception with some of the liberties taken, such as Doom being on the trip to space and other variations on his character which are not part of the original comic.
Alba and Evans tend to come off at times as airheads but they stay true to their characters throughout. Gruffudd plays Reed with modesty and charm that works well in the film and shows that he is a star on the rise. Praise should be heaped upon Chiklis and McMahon who could easily have become lost behind their costumes. Theygive very human and compelling performances. Chiklis captures the duality of Grimm as he battles his despair over his physical appearance with his desire to do what is right. McMahon does riveting work as the man pushed over the edge and becomes fueled by a desire for revenge and power. The fury and evil upon his face and in his walk shows him as a man of menace and danger.
I for one would have liked to have seen a bit more action in the film but as it stands, it is not as bad as some of the trailers hinted that it might be. If you do not mind thin plots and characters, you may be able to sit back and enjoy this film for what it is, a simple summer escape. Here is hoping that we will see the “Fantastic 4” up on the big screen as the next franchise series from Marvel.
EmersonRose (320 KP) rated The Blood of Olympus (The Heroes of Olympus #5) in Books
Nov 20, 2019
Alert! Before I begin this review, I need to let it be known that in the case of this particular book I may be a little biased, well maybe really biased! This is the tenth book I have read by this author and the last in the second series I have read. It is safe to say I love these books or else I would not have read this many.
Alright, now that that is out of the way, let me begin. This book is called Blood of Olympus, it is the fifth and final book in the Heroes of Olympus series (if you should ever desire to read these book, I would recommend starting with the Percy Jackson, and the Olympians series as this series is a sequel series. The author of this book is a writer by the name of Rick Riordan. This book is a young adult fantasy novel. It is the final chapter of the adventure of a group of seven young adults who happen to be demigods, modern day children of the ancient gods of Greece and Rome. This adventure, like many great adventures, is a race to save the world.
For me, the initial draw of the book was that it is a fantasy novel, which is one of my favorite genres, and its focus is on Greek Mythology, something of an obsession of mine. The mythology in these books may not always satisfy all mythology nerds because they do take liberties in how the myths are presented in order to showcase how they might have changed to fit in the modern day world. The way Riordan chooses to represent mythology is often fairly close to original stories, showing that he spends the time researching the myths, and they are clever, funny, and entertaining.
As I read the books, I found myself drawn to the relationships between the characters, not surprising as characters are a key draw for me in literature. By this point in the series, the relationships became especially interesting because you have known some of the characters for ten books now while others are just in their second or third book appearances. The central characters have grown into a substantial group that each have their own unique backgrounds, personalities, and even mythologies that create intriguing tension and bonds. Their bonds grow stronger as they work through new struggles and adventures with the added drama of them being a group of teenagers, which obviously means that there is a fair bit of romance involved as well.
For me personally to get into a story the most important aspect is to be very invested in61w3pqVMCZL._US230_ the characters. This does not mean I have to like them, but I do need to be completely invested in what happens to them. If the storyteller can do this, then I will most likely binge the entire thing whether book, movie, tv show, comic…. regardless whether or not the story is good or my normal cup of tea. This was definitely an initial draw in me reading this second series because I was already very invested in both Percy and Annabeth’s characters, who are among the main characters in this series and the main characters in the previous series. The majority of the characters in this book did capture my emotional investment, which kept me reading all five books, but there were a few I found lacking. Maybe I am the only one who felt this, but I thought that Riordan didn’t spend enough time on some of the new characters to pull me into their plots. Unfortunately, this is common in stories that feature such a large cast of main characters, had the time on each character been even plot points might not have been as successful and honestly, I might have been annoyed to not spend as much time on my favorites.
I would be lying if I were to say this was my favorite book in this series but I still greatly enjoyed it. Besides my problem with not feeling emotionally invested enough in some of the characters, I really do not have any other complaints about the book. It was successful in finishing this series story arc while having plenty of plot of its own. And it ended wrapping just about everything up so that I was satisfied, but open enough to still want more. If this were a regular series, the leftover cliffhangers would be dreadful! But Riordan writes series that capture over-arching plots but that connect to his other book series in this same world, so an ending like this simply promising more books about these characters in another series.
Overall I liked this book, if young adult fantasy is your genre, then I would definitely suggest looking at these books. They do what I require of my urban fantasy stories, mix magic into our real world enough that a part of me can almost believe it could be possible. Characters, world, and plot flowing together into an engaging story that obviously captured my interest enough to read ten and counting of these novels.
*This was a review I found while cleaning that I write a few years ago. I have since read two more Riordan novels and counting! I love the way Riordan writes and appreciate how he seems to continually grow as a writer, always tackling new issues and allowing his characters to have growth. Annabeth and Percy especially, they are two of my all-time favorite characters. I highly recommend reading his books!
Alright, now that that is out of the way, let me begin. This book is called Blood of Olympus, it is the fifth and final book in the Heroes of Olympus series (if you should ever desire to read these book, I would recommend starting with the Percy Jackson, and the Olympians series as this series is a sequel series. The author of this book is a writer by the name of Rick Riordan. This book is a young adult fantasy novel. It is the final chapter of the adventure of a group of seven young adults who happen to be demigods, modern day children of the ancient gods of Greece and Rome. This adventure, like many great adventures, is a race to save the world.
For me, the initial draw of the book was that it is a fantasy novel, which is one of my favorite genres, and its focus is on Greek Mythology, something of an obsession of mine. The mythology in these books may not always satisfy all mythology nerds because they do take liberties in how the myths are presented in order to showcase how they might have changed to fit in the modern day world. The way Riordan chooses to represent mythology is often fairly close to original stories, showing that he spends the time researching the myths, and they are clever, funny, and entertaining.
As I read the books, I found myself drawn to the relationships between the characters, not surprising as characters are a key draw for me in literature. By this point in the series, the relationships became especially interesting because you have known some of the characters for ten books now while others are just in their second or third book appearances. The central characters have grown into a substantial group that each have their own unique backgrounds, personalities, and even mythologies that create intriguing tension and bonds. Their bonds grow stronger as they work through new struggles and adventures with the added drama of them being a group of teenagers, which obviously means that there is a fair bit of romance involved as well.
For me personally to get into a story the most important aspect is to be very invested in61w3pqVMCZL._US230_ the characters. This does not mean I have to like them, but I do need to be completely invested in what happens to them. If the storyteller can do this, then I will most likely binge the entire thing whether book, movie, tv show, comic…. regardless whether or not the story is good or my normal cup of tea. This was definitely an initial draw in me reading this second series because I was already very invested in both Percy and Annabeth’s characters, who are among the main characters in this series and the main characters in the previous series. The majority of the characters in this book did capture my emotional investment, which kept me reading all five books, but there were a few I found lacking. Maybe I am the only one who felt this, but I thought that Riordan didn’t spend enough time on some of the new characters to pull me into their plots. Unfortunately, this is common in stories that feature such a large cast of main characters, had the time on each character been even plot points might not have been as successful and honestly, I might have been annoyed to not spend as much time on my favorites.
I would be lying if I were to say this was my favorite book in this series but I still greatly enjoyed it. Besides my problem with not feeling emotionally invested enough in some of the characters, I really do not have any other complaints about the book. It was successful in finishing this series story arc while having plenty of plot of its own. And it ended wrapping just about everything up so that I was satisfied, but open enough to still want more. If this were a regular series, the leftover cliffhangers would be dreadful! But Riordan writes series that capture over-arching plots but that connect to his other book series in this same world, so an ending like this simply promising more books about these characters in another series.
Overall I liked this book, if young adult fantasy is your genre, then I would definitely suggest looking at these books. They do what I require of my urban fantasy stories, mix magic into our real world enough that a part of me can almost believe it could be possible. Characters, world, and plot flowing together into an engaging story that obviously captured my interest enough to read ten and counting of these novels.
*This was a review I found while cleaning that I write a few years ago. I have since read two more Riordan novels and counting! I love the way Riordan writes and appreciate how he seems to continually grow as a writer, always tackling new issues and allowing his characters to have growth. Annabeth and Percy especially, they are two of my all-time favorite characters. I highly recommend reading his books!
Lee (2222 KP) rated Bombshell (2019) in Movies
Jan 8, 2020 (Updated Jan 8, 2020)
With media currently showing us scenes of disgraced Hollywood mogul Harvey Weinstein as he shuffles into court, expecting sympathy while his victims continue to try and rebuild their lives, along comes the timely release of Bombshell. Based on a high profile #MeToo scandal, Bombshell gives us a look deep inside the heart of Fox News, and tells the explosive story of the women who fought back against the powerful man who created it.
Megyn Kelly (Charlize Theron) begins by giving us a whistle-stop tour of the Fox News building - the floor layout, who is located where, how various news teams operate, who some of the news anchors are. We learn about the second floor, where the man at the centre of the scandal to come, Roger Ailes (John Lithgow), has his office and where Rupert Murdoch and his sons all fit in. It's a lot to take in right off the bat, so don't turn up late for the movie and make sure you're paying attention!
It's 2016, and the presidential campaign is in full swing. Megyn is preparing for the Republican debate hosted by Fox News, where she is planning to fire off a controversial question at Donald Trump regarding his treatment of women. There's a bit of an upset (literally) earlier in the day though, when Megyn develops a nasty stomach bug, presumably from someone tampering with the coffee bought for her on the way to work, and she very nearly doesn't make it to the debate, which we assume was the desired result. She manages to get out her question though, resulting in the kind of rage tweeting from Trump that we've now become so accustomed to, backlash from Trump supporters and paparazzi turning up at the holiday home where Megyn is taking a short break with her family.
Meanwhile, Gretchen Carlson (Nicole Kidman) is meeting with lawyers regarding the sexist comments that she regularly receives both on air from her male co-anchors, and off air from people like Roger Ailes. She also feels that her demotion to a less popular daytime show is the result of her reluctance to 'play ball' with Ailes. We see the uncomfortable story of Rudi Bakhitar, fired for politely declining the sexual advances of her employer, and the lawyers advise that Gretchen will need to gain further evidence from other women before they can file a harassment suit against Ailes.
The harassment and treatment of women and what they have to endure at Fox News, just to try and come close to the same level as their male counterparts, becomes increasingly apparent as the movie progresses. Short dresses, wide angle shots and transparent news desks in order to see their legs and hold viewer attention - it's the kind of thing you might only casually notice while watching a show, but eye opening and shocking when you see the orders being given in the control room to switch to a certain camera, and the women being told off screen how they should look and dress. Even though you know it's only a matter of time before Carlson gets the support she needs in order to get justice, there's obviously a lot of tension and drama that needs to play out before we get there.
In order to highlight and demonstrate the treatment off camera, particularly from Roger Ailes, we are introduced to up-and-coming journalist and new employee Kayla Pospisil (Margot Robbie), who is a fictional character. Kayla beings by working for Gretchen Carlson, but is keen to progress to bigger things and, despite warnings from Gretchen that she should stay close to her, takes a job on Fox's number one program, The O'Reilly Factor. Along the way, Kayla forms a relationship with her co-worker Jess Carr (Kate McKinnon) and manages to find her way into the office of Ailes, where we get to see him at work in a very creepy and uncomfortable scene. As news of Gretchen's lawsuit breaks, a slow trickle of former victims begins to come forward, while Megyn remains noticeably tight-lipped about an encounter she had with Ailes 10 years ago. It's clear that somebody like Megyn has enough power to make the lawsuit a lot more viable.
For me, Bombshell is all about the performances. Charlize Theron wears simple prosthetics, and underwent voice coaching in order to play the role of Megyn Kelly convincingly, and she is outstanding, as is Nicole Kidman. We get to live the trauma and the ups and downs of Margot Robbie's character along with her in the movie, earning her a supporting actress BAFTA nomination this week (against herself, for Once Upon A Time In Hollywood!). John Lithgow, who I found to be brilliant as Winston Churchill in The Crown, has once again bulked up in order to portray Roger Ailes, and succeeds in making him seem human, and at times humorous, while still portraying his darker, weaker and more creepier side.
Outside of the performances, I found Bombshell to be a fairly average movie. What happened in the space of just a few days in real life, seems to occur over weeks in the movie and I felt the trailer covered off the majority of the story in a pretty tight and more intense few minutes, with the movie just a more stretched out version of that. Still, Bombshell is definitely a good movie and, as I mentioned right at the start, more important and relevant now than ever before, so it deserves to be seen by all.
Megyn Kelly (Charlize Theron) begins by giving us a whistle-stop tour of the Fox News building - the floor layout, who is located where, how various news teams operate, who some of the news anchors are. We learn about the second floor, where the man at the centre of the scandal to come, Roger Ailes (John Lithgow), has his office and where Rupert Murdoch and his sons all fit in. It's a lot to take in right off the bat, so don't turn up late for the movie and make sure you're paying attention!
It's 2016, and the presidential campaign is in full swing. Megyn is preparing for the Republican debate hosted by Fox News, where she is planning to fire off a controversial question at Donald Trump regarding his treatment of women. There's a bit of an upset (literally) earlier in the day though, when Megyn develops a nasty stomach bug, presumably from someone tampering with the coffee bought for her on the way to work, and she very nearly doesn't make it to the debate, which we assume was the desired result. She manages to get out her question though, resulting in the kind of rage tweeting from Trump that we've now become so accustomed to, backlash from Trump supporters and paparazzi turning up at the holiday home where Megyn is taking a short break with her family.
Meanwhile, Gretchen Carlson (Nicole Kidman) is meeting with lawyers regarding the sexist comments that she regularly receives both on air from her male co-anchors, and off air from people like Roger Ailes. She also feels that her demotion to a less popular daytime show is the result of her reluctance to 'play ball' with Ailes. We see the uncomfortable story of Rudi Bakhitar, fired for politely declining the sexual advances of her employer, and the lawyers advise that Gretchen will need to gain further evidence from other women before they can file a harassment suit against Ailes.
The harassment and treatment of women and what they have to endure at Fox News, just to try and come close to the same level as their male counterparts, becomes increasingly apparent as the movie progresses. Short dresses, wide angle shots and transparent news desks in order to see their legs and hold viewer attention - it's the kind of thing you might only casually notice while watching a show, but eye opening and shocking when you see the orders being given in the control room to switch to a certain camera, and the women being told off screen how they should look and dress. Even though you know it's only a matter of time before Carlson gets the support she needs in order to get justice, there's obviously a lot of tension and drama that needs to play out before we get there.
In order to highlight and demonstrate the treatment off camera, particularly from Roger Ailes, we are introduced to up-and-coming journalist and new employee Kayla Pospisil (Margot Robbie), who is a fictional character. Kayla beings by working for Gretchen Carlson, but is keen to progress to bigger things and, despite warnings from Gretchen that she should stay close to her, takes a job on Fox's number one program, The O'Reilly Factor. Along the way, Kayla forms a relationship with her co-worker Jess Carr (Kate McKinnon) and manages to find her way into the office of Ailes, where we get to see him at work in a very creepy and uncomfortable scene. As news of Gretchen's lawsuit breaks, a slow trickle of former victims begins to come forward, while Megyn remains noticeably tight-lipped about an encounter she had with Ailes 10 years ago. It's clear that somebody like Megyn has enough power to make the lawsuit a lot more viable.
For me, Bombshell is all about the performances. Charlize Theron wears simple prosthetics, and underwent voice coaching in order to play the role of Megyn Kelly convincingly, and she is outstanding, as is Nicole Kidman. We get to live the trauma and the ups and downs of Margot Robbie's character along with her in the movie, earning her a supporting actress BAFTA nomination this week (against herself, for Once Upon A Time In Hollywood!). John Lithgow, who I found to be brilliant as Winston Churchill in The Crown, has once again bulked up in order to portray Roger Ailes, and succeeds in making him seem human, and at times humorous, while still portraying his darker, weaker and more creepier side.
Outside of the performances, I found Bombshell to be a fairly average movie. What happened in the space of just a few days in real life, seems to occur over weeks in the movie and I felt the trailer covered off the majority of the story in a pretty tight and more intense few minutes, with the movie just a more stretched out version of that. Still, Bombshell is definitely a good movie and, as I mentioned right at the start, more important and relevant now than ever before, so it deserves to be seen by all.
Kirk Bage (1775 KP) rated Black Mirror - Season 4 in TV
Mar 3, 2020
USS Callister - 7.5
A fascinatingly geeky episode, all else aside. Not only are there references to almost every significant sci-fi meme (in the true sociological sense of the word) you can think of, but there are also many links to past and even future Black Mirror episodes. It really is a spot the clever touch piece of the ensemble. Deceptively colourful and lively, this is a dark idea – taking identity theft to the next level and using stolen DNA to replicate and then trap a person in a virtual world where you are god. Jesse Plemons takes on two personas and has never been seen to such effect as in this rare lead role for him. Nominated for 8 Emmys and winning 4, the start to season four in late 2017 was a strong one, and a real indicator that the Universe of Black Mirror is all intrinsically linked. As I say, geek heaven! Points for spotting Kirsten Dunst in an unspoken cameo…
Arkangel - 6
Notable for the first big guest director credit of one Jodie Foster. This one moves from creepy idea to hard to swallow nonsense very quickly. Returning to the idea of brain implants and using the eyes of a person as a recorder than can be manipulated, the idea of aparent using such tech to protect a child is fine on the surface. But when you go deeper, it is impossible to imagine a parent stupid enough not to see the drawbacks and dangers of it, and fantastical to imagine the child not questioning it as they get older. Apart from a memorable moment of violence that works well in the context of the story, this episode largely doesn’t really work.
Crocodile - 7
An almost unrecognisable Andrea Riseborough is the best thing about this bleak thriller type episode, often compared to Scandi-dramas like The Bridge. It starts with a haunting accidental death and cover up scenario, progressing to a breakdown manifested in two very different ways. Once again, the tech on display is a machine not unlike the Voight-Kampf of Blade Runner, which can translate memory into images. The intrigue and tension are great, and when things really kick off, we find ourselves yelling “just stop” at our screens! Trouble is, the final twist undermines it all, by crossing the line of irony and into comedy. Memorable, but not in the top ten for me.
Hang the DJ - 8.5
Now, this one I really like! The unlikely chemistry of Joe Cole and Georgina Campbell, as two guinea pigs using an intense dating app in some vague dystopia, hits the right tone from the start and keeps you gripped. The basic idea being that the app tells you how long a couple can be together, before parting, whether they want to or not. The promise of the system being that in the end there is a 99.8% chance of finding your “perfect” partner. The empathy for the leads is huge by the time it comes to the inevitable conclusion that they must rebel to escape their fate and be together. What happens next: the simplicity, yet detail of the twist is absolute genius! Leaving you with a wry smile and a very strong lasting impression. Artistically, not he strongest; in terms of pure writing, one of the very best.
Metalhead - 7
Perhaps unfairly, this episode, shot in gorgeous black and white, is the lowest rated of all Black Mirror episodes on IMDb. David Slade, the man responsible for films such as Hard Candy and 30 Days of Night directs, and it is apparent this is going to be a minimal mood piece, with standard psychological horror elements. The most obvious comparison is The Terminator, but there is more going on than that. What I like about it is the ambiguity. How we got to this place and where “home” is and who is left there, are all left to our imagination, as we watch Maxine Peake struggle to survive against a machine that will not stop. I think many reject it out of hand because it is too vague and has little in the way of a clever twist. But, as a character study it works fine. Shorter than most, at 41 minutes, perhaps even that is a push, given the simple idea, which does have short film vibes pouring out of it. I can’t say I don’t like it though…
Black Museum - 8
A fitting end to season four was the trick of paying homage to old anthology horror movies of the 70s, where artifacts that link to dark stories are collected in one place and re-told by a perhaps sinister narrator. There are plenty of clever nods to recognisable props and images from earlier episodes, as well as new stuff that may have future significance, that,even more than USS Callister, this episode is basically one big Easter egg. Letitia Wright, best known from her role in Black Panther, to date, shows star quality in a tricky part that basically requires her to listen and wait patiently until the satisfying pay-off. The three linking tales of a doctor who becomes addicted to pain via an empathy implant; a dead mother whose soul is trapped in a childs toy forever; and a murderer condemned to relive his execution over and over for the gratification of paying customers – are all captivating within themselves, and fit into the macabre tongue in cheek vibe well. Thankfully, the climax does make it all gel and make sense, and we leave the season on a high, reflecting our own sense of “justice”.
A fascinatingly geeky episode, all else aside. Not only are there references to almost every significant sci-fi meme (in the true sociological sense of the word) you can think of, but there are also many links to past and even future Black Mirror episodes. It really is a spot the clever touch piece of the ensemble. Deceptively colourful and lively, this is a dark idea – taking identity theft to the next level and using stolen DNA to replicate and then trap a person in a virtual world where you are god. Jesse Plemons takes on two personas and has never been seen to such effect as in this rare lead role for him. Nominated for 8 Emmys and winning 4, the start to season four in late 2017 was a strong one, and a real indicator that the Universe of Black Mirror is all intrinsically linked. As I say, geek heaven! Points for spotting Kirsten Dunst in an unspoken cameo…
Arkangel - 6
Notable for the first big guest director credit of one Jodie Foster. This one moves from creepy idea to hard to swallow nonsense very quickly. Returning to the idea of brain implants and using the eyes of a person as a recorder than can be manipulated, the idea of aparent using such tech to protect a child is fine on the surface. But when you go deeper, it is impossible to imagine a parent stupid enough not to see the drawbacks and dangers of it, and fantastical to imagine the child not questioning it as they get older. Apart from a memorable moment of violence that works well in the context of the story, this episode largely doesn’t really work.
Crocodile - 7
An almost unrecognisable Andrea Riseborough is the best thing about this bleak thriller type episode, often compared to Scandi-dramas like The Bridge. It starts with a haunting accidental death and cover up scenario, progressing to a breakdown manifested in two very different ways. Once again, the tech on display is a machine not unlike the Voight-Kampf of Blade Runner, which can translate memory into images. The intrigue and tension are great, and when things really kick off, we find ourselves yelling “just stop” at our screens! Trouble is, the final twist undermines it all, by crossing the line of irony and into comedy. Memorable, but not in the top ten for me.
Hang the DJ - 8.5
Now, this one I really like! The unlikely chemistry of Joe Cole and Georgina Campbell, as two guinea pigs using an intense dating app in some vague dystopia, hits the right tone from the start and keeps you gripped. The basic idea being that the app tells you how long a couple can be together, before parting, whether they want to or not. The promise of the system being that in the end there is a 99.8% chance of finding your “perfect” partner. The empathy for the leads is huge by the time it comes to the inevitable conclusion that they must rebel to escape their fate and be together. What happens next: the simplicity, yet detail of the twist is absolute genius! Leaving you with a wry smile and a very strong lasting impression. Artistically, not he strongest; in terms of pure writing, one of the very best.
Metalhead - 7
Perhaps unfairly, this episode, shot in gorgeous black and white, is the lowest rated of all Black Mirror episodes on IMDb. David Slade, the man responsible for films such as Hard Candy and 30 Days of Night directs, and it is apparent this is going to be a minimal mood piece, with standard psychological horror elements. The most obvious comparison is The Terminator, but there is more going on than that. What I like about it is the ambiguity. How we got to this place and where “home” is and who is left there, are all left to our imagination, as we watch Maxine Peake struggle to survive against a machine that will not stop. I think many reject it out of hand because it is too vague and has little in the way of a clever twist. But, as a character study it works fine. Shorter than most, at 41 minutes, perhaps even that is a push, given the simple idea, which does have short film vibes pouring out of it. I can’t say I don’t like it though…
Black Museum - 8
A fitting end to season four was the trick of paying homage to old anthology horror movies of the 70s, where artifacts that link to dark stories are collected in one place and re-told by a perhaps sinister narrator. There are plenty of clever nods to recognisable props and images from earlier episodes, as well as new stuff that may have future significance, that,even more than USS Callister, this episode is basically one big Easter egg. Letitia Wright, best known from her role in Black Panther, to date, shows star quality in a tricky part that basically requires her to listen and wait patiently until the satisfying pay-off. The three linking tales of a doctor who becomes addicted to pain via an empathy implant; a dead mother whose soul is trapped in a childs toy forever; and a murderer condemned to relive his execution over and over for the gratification of paying customers – are all captivating within themselves, and fit into the macabre tongue in cheek vibe well. Thankfully, the climax does make it all gel and make sense, and we leave the season on a high, reflecting our own sense of “justice”.
Emma @ The Movies (1786 KP) rated Annabelle Comes Home (2019) in Movies
Jun 20, 2020
God help me I don't know why I went to see this.
The Warrens have contained Annabelle, her influence is safely blocked by a box crafted from sacred glass and they've locked her up in their artefact room. A year goes by without incident, but when their babysitter's friend visits unannounced, curious and looking for answers, the relative peace of the house is shattered.
Daniela unwittingly unleashes Annabelle's power onto the house and the three of them inside. The spirits in the Warren's basement are gradually escaping and coming out to play.
While me and horror don't mix, I do occasionally like the idea behind some of them. A story about objects with power like Annabelle Comes Home really appealed to me as I'm a fan of this sort of supernatural malarkey. As such, I decided to suck it up and be brave. I'm mainly glad I gave it a go... mainly.
This is the first horror film I have ever seen that has had any effect on me after seeing it. Most I just forget about and move on to the next, Annabelle Comes Home really messed with me though. I got up in the night and when I got back to bed I thought about it for the briefest moment and spent the next hour with the light on scrolling through Pinterest. Even when watching it at the cinema there were genuine moments where I was scared, not just the jumping out of my seat kind. Actually, I was impressed that it didn't just rely on the jump scare as a way of getting to its audience. More movies are doing that these days and it just feels like a very cheap way of trying for horror.
The scares here were much more... subtle... but subtle is absolutely not the right words. What I mean is that they were crafted in a much better and natural way than something popping out and screaming in your face. There is a moment with the bride where the shot genuinely moves so swiftly that it's almost inducing panic in you because you can't quite work out what's happening.
All of the spirits in the house are incredibly well done visually. The Ferryman in particular is very effective, it's amazing how something as simple as the sound of coins can add to the tension. When I said "all" at the beginning of this paragraph I did overstate slightly, there's one exception. Sadly Bob (our bit part love interest) is stuck outside trying to fend off a werewolf. I feel like the chances are high that he was designed for a Scooby Doo movie that was never produced. It's got a slightly cartoonish quality to it and when you add in the excess of rolling fog it becomes the least believable of all the unbelievable things.
Speaking of Bob, as a character, while adorable, does feel out of place as well. But the addition of this lighter storyline probably saved me from having a complete breakdown right in the cinema.
Daniela, the girl who can't read warning labels, left me annoyed. She's curious and looking for answers but it also feels like she's not convinced that the Warrens are for real. Either way, why would you play with the thing that is not only inside a locked room, but inside a locked box inside the locked room and has a very clear sign saying not to open it? Surely the only thing that's inside the box apart from a creepy doll and a chair is eternal damnation.
I thought that Madison Iseman as the babysitter Mary Ellen was a really good call in this. She's incredibly believable throughout and managed not to overact. Let's face it, there's always a strong chance of that in horror.
Finding out that Vera Farmiga and Patrick Wilson were barely in it was extremely disappointing. They're both good actors with a host of top roles under their belts and I'd been looking forward to seeing them on screen together. Once the set up is done though it's over to the younger cast members as Ed and Lorraine Warren go off on a trip. They do appear later in the film, but only after the action's conclusion to participate in the bizarrely conceived ending.
Mckenna Grace managed to deal with some of the creepy moments really well but I didn't feel like there was really much for her to do. Everything was very much guided by Mary Ellen and Daniela, and when she did get a moment on the screen it was swiftly snatched away by something else. Potentially by design I guess, but there wasn't much chance to make the role come alive.
I've not seen any of the other films in this franchise, and honestly, probably won't now. If someone who has could tell me if the others are as formulaic as this one I would appreciate it. I'm not saying formulaic is bad, sometimes knowing what's coming is easier to deal with, I'm sure it really helped me with this film. Near the beginning we have a sequence that gives you a checklist of things to wait for. Would I have stuck it out if I hadn't known what to look out for? Would some of those things scared me enough to leave? We'll never know.
I'm glad I managed to stick with it, the idea had been what really intrigued me and I feel like that came through well. Despite other issues with predictability and characters I actually enjoyed this film.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/07/annabelle-comes-home-movie-review.html
The Warrens have contained Annabelle, her influence is safely blocked by a box crafted from sacred glass and they've locked her up in their artefact room. A year goes by without incident, but when their babysitter's friend visits unannounced, curious and looking for answers, the relative peace of the house is shattered.
Daniela unwittingly unleashes Annabelle's power onto the house and the three of them inside. The spirits in the Warren's basement are gradually escaping and coming out to play.
While me and horror don't mix, I do occasionally like the idea behind some of them. A story about objects with power like Annabelle Comes Home really appealed to me as I'm a fan of this sort of supernatural malarkey. As such, I decided to suck it up and be brave. I'm mainly glad I gave it a go... mainly.
This is the first horror film I have ever seen that has had any effect on me after seeing it. Most I just forget about and move on to the next, Annabelle Comes Home really messed with me though. I got up in the night and when I got back to bed I thought about it for the briefest moment and spent the next hour with the light on scrolling through Pinterest. Even when watching it at the cinema there were genuine moments where I was scared, not just the jumping out of my seat kind. Actually, I was impressed that it didn't just rely on the jump scare as a way of getting to its audience. More movies are doing that these days and it just feels like a very cheap way of trying for horror.
The scares here were much more... subtle... but subtle is absolutely not the right words. What I mean is that they were crafted in a much better and natural way than something popping out and screaming in your face. There is a moment with the bride where the shot genuinely moves so swiftly that it's almost inducing panic in you because you can't quite work out what's happening.
All of the spirits in the house are incredibly well done visually. The Ferryman in particular is very effective, it's amazing how something as simple as the sound of coins can add to the tension. When I said "all" at the beginning of this paragraph I did overstate slightly, there's one exception. Sadly Bob (our bit part love interest) is stuck outside trying to fend off a werewolf. I feel like the chances are high that he was designed for a Scooby Doo movie that was never produced. It's got a slightly cartoonish quality to it and when you add in the excess of rolling fog it becomes the least believable of all the unbelievable things.
Speaking of Bob, as a character, while adorable, does feel out of place as well. But the addition of this lighter storyline probably saved me from having a complete breakdown right in the cinema.
Daniela, the girl who can't read warning labels, left me annoyed. She's curious and looking for answers but it also feels like she's not convinced that the Warrens are for real. Either way, why would you play with the thing that is not only inside a locked room, but inside a locked box inside the locked room and has a very clear sign saying not to open it? Surely the only thing that's inside the box apart from a creepy doll and a chair is eternal damnation.
I thought that Madison Iseman as the babysitter Mary Ellen was a really good call in this. She's incredibly believable throughout and managed not to overact. Let's face it, there's always a strong chance of that in horror.
Finding out that Vera Farmiga and Patrick Wilson were barely in it was extremely disappointing. They're both good actors with a host of top roles under their belts and I'd been looking forward to seeing them on screen together. Once the set up is done though it's over to the younger cast members as Ed and Lorraine Warren go off on a trip. They do appear later in the film, but only after the action's conclusion to participate in the bizarrely conceived ending.
Mckenna Grace managed to deal with some of the creepy moments really well but I didn't feel like there was really much for her to do. Everything was very much guided by Mary Ellen and Daniela, and when she did get a moment on the screen it was swiftly snatched away by something else. Potentially by design I guess, but there wasn't much chance to make the role come alive.
I've not seen any of the other films in this franchise, and honestly, probably won't now. If someone who has could tell me if the others are as formulaic as this one I would appreciate it. I'm not saying formulaic is bad, sometimes knowing what's coming is easier to deal with, I'm sure it really helped me with this film. Near the beginning we have a sequence that gives you a checklist of things to wait for. Would I have stuck it out if I hadn't known what to look out for? Would some of those things scared me enough to leave? We'll never know.
I'm glad I managed to stick with it, the idea had been what really intrigued me and I feel like that came through well. Despite other issues with predictability and characters I actually enjoyed this film.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/07/annabelle-comes-home-movie-review.html
Charlie Cobra Reviews (1840 KP) rated Shang-Chi and the Legend of the Ten Rings (2021) in Movies
Sep 5, 2021
Superhero Epic With Emotional Family Drama And Gravity-Defying Martial Arts
In the past, Xu Wenwu (Tony Leung), Shang-Chi's father, used the Ten Rings, mystical weapons granting him immortality and power, to amass an army of warriors and topple kingdoms and governments alike. In the present Shang-Chi (Simu Liu) is just a regular guy working a dead end job as a valet with his best friend Katy (Awkwafina) and enjoying life. When he and Katy are attacked by the mysterious Ten Rings Organization, Shang-Chi must confront the past of his former life. A life he thought he left behind.
This movie was really great! I'm so glad I went to go watch it in theaters and on the first day before anybody spoiled anything for me. I hate people who do that. Anyways, this movie was an excellent addition to the MCU and I like the way it went about being it's own thing. It felt like they didn't have to try and adhere to being part of a shared universe and making things fit but at the same time there were plenty of Easter eggs and surprises sprinkled throughout. The film also managed to check a lot of boxes without feeling like they were forced. It had drama, really great action, killer fight scenes, and some comedy mixed in there. The movie felt a lot like the first Guardians of the Galaxy movie, especially in how it balanced the seriousness and lightness throughout the film. I liked the chemistry between the characters and thought the casting was perfect. The bus scene was one of my favorite parts of the movie and all the action that went on. If I had to say that there was a biggest flaw in the film it would probably be that they didn't really go too far into some of the lore involved but ultimately that didn't detract from it enough to be something major.
I liked the way the director chose to portray the events in the story and how it was a pretty cohesive plot and not all over the place. The pacing was done well and there was good use of flashbacks in certain scenes to move the plot. I felt like it was done well without turning into "info dumping" with character dialogue. The cinematography was great and seemed naturalistic and heightened. They definitely took advantage of filming on location in San Francisco with some scenes filmed in famous places such as Russian Hill, Noe Valley, Nob Hill and Fisherman's Wharf. The fight choreography in the movie is phenomenal. It's probably the best that there has ever been in a Marvel film and it shows. They got Brad Allen who had worked with Jackie Chan before, as the supervising stunt coordinator and he brought that physical comedy to the scenes where setups and stakes keep rising as do the payoffs. The tone of the movie was light but definitely had it's moments were it got darker however it never left it's core of being about family. The music was more contemporary and modern but with some musical score in the scenes where it fit really well but there was nothing that really stuck out as unique or compelling. The acting was pretty good with even Awkwafina showing a little bit of range with some dramatic scenes and not just comedy. Simu Liu was very convincing as Shang-Chi, both versions, the "average Joe" and the warrior. His father played by Tony Leung was also very good in his scenes from the ones showing the past to his interactions with Shang-Chi. You could really feel the tension between them. And of course Michelle Yeoh was just awesome!
The writing was good and dialogue never felt like somebody said something that was out of character or didn't fit right. The plot was never weak or boring. Although you could tell where it was going it had a little bit of mystery to it. The editing was done very proper and there were some good cuts of action scenes particularly the bus scene. I liked the one transition in the beginning from the tale of the past to the alarm clock. The costume designs were something that you usually don't remember in some films but this one had some really iconic ones that stuck out. For example that one masked blue ninja's outfit, as well as the other Ten Rings soldiers looked cool. Razor Fist's arm design was inventive also. There were so many outfits that come out later in the movie that just fit really well too. Although as cool and nice looking as Shang-Chi's costume was, I did think it could have been better. There were plenty of really cool set designs from the Ten Rings lair to a underground fight club in Macau but the one set piece that stole the show to me was this really ornate wooden carving that looked really intricate. You'll know the one when you see it. The special effects were really good and I couldn't really complain too much except that the movie did suffer from one of those things that happened towards the end like in Black Panther where they just used too much in a certain sequence and it looked bad in that particular part. I did have a favorite character in the movie but it'd be spoiling it if I said who it was, so I'll just say that they have exceptional "acting" skills. Anyways I give Shang-Chi and the Legend of the Ten Rings a 8/10 and it gets my "Must See Seal of Approval". You need to get out there and check this movie out this Labor Day Weekend.
This movie was really great! I'm so glad I went to go watch it in theaters and on the first day before anybody spoiled anything for me. I hate people who do that. Anyways, this movie was an excellent addition to the MCU and I like the way it went about being it's own thing. It felt like they didn't have to try and adhere to being part of a shared universe and making things fit but at the same time there were plenty of Easter eggs and surprises sprinkled throughout. The film also managed to check a lot of boxes without feeling like they were forced. It had drama, really great action, killer fight scenes, and some comedy mixed in there. The movie felt a lot like the first Guardians of the Galaxy movie, especially in how it balanced the seriousness and lightness throughout the film. I liked the chemistry between the characters and thought the casting was perfect. The bus scene was one of my favorite parts of the movie and all the action that went on. If I had to say that there was a biggest flaw in the film it would probably be that they didn't really go too far into some of the lore involved but ultimately that didn't detract from it enough to be something major.
I liked the way the director chose to portray the events in the story and how it was a pretty cohesive plot and not all over the place. The pacing was done well and there was good use of flashbacks in certain scenes to move the plot. I felt like it was done well without turning into "info dumping" with character dialogue. The cinematography was great and seemed naturalistic and heightened. They definitely took advantage of filming on location in San Francisco with some scenes filmed in famous places such as Russian Hill, Noe Valley, Nob Hill and Fisherman's Wharf. The fight choreography in the movie is phenomenal. It's probably the best that there has ever been in a Marvel film and it shows. They got Brad Allen who had worked with Jackie Chan before, as the supervising stunt coordinator and he brought that physical comedy to the scenes where setups and stakes keep rising as do the payoffs. The tone of the movie was light but definitely had it's moments were it got darker however it never left it's core of being about family. The music was more contemporary and modern but with some musical score in the scenes where it fit really well but there was nothing that really stuck out as unique or compelling. The acting was pretty good with even Awkwafina showing a little bit of range with some dramatic scenes and not just comedy. Simu Liu was very convincing as Shang-Chi, both versions, the "average Joe" and the warrior. His father played by Tony Leung was also very good in his scenes from the ones showing the past to his interactions with Shang-Chi. You could really feel the tension between them. And of course Michelle Yeoh was just awesome!
The writing was good and dialogue never felt like somebody said something that was out of character or didn't fit right. The plot was never weak or boring. Although you could tell where it was going it had a little bit of mystery to it. The editing was done very proper and there were some good cuts of action scenes particularly the bus scene. I liked the one transition in the beginning from the tale of the past to the alarm clock. The costume designs were something that you usually don't remember in some films but this one had some really iconic ones that stuck out. For example that one masked blue ninja's outfit, as well as the other Ten Rings soldiers looked cool. Razor Fist's arm design was inventive also. There were so many outfits that come out later in the movie that just fit really well too. Although as cool and nice looking as Shang-Chi's costume was, I did think it could have been better. There were plenty of really cool set designs from the Ten Rings lair to a underground fight club in Macau but the one set piece that stole the show to me was this really ornate wooden carving that looked really intricate. You'll know the one when you see it. The special effects were really good and I couldn't really complain too much except that the movie did suffer from one of those things that happened towards the end like in Black Panther where they just used too much in a certain sequence and it looked bad in that particular part. I did have a favorite character in the movie but it'd be spoiling it if I said who it was, so I'll just say that they have exceptional "acting" skills. Anyways I give Shang-Chi and the Legend of the Ten Rings a 8/10 and it gets my "Must See Seal of Approval". You need to get out there and check this movie out this Labor Day Weekend.
Purple Phoenix Games (2266 KP) rated Arctic Scavengers in Tabletop Games
Jun 12, 2019
One of the best parts of the board gaming experience is finding a fun group of people with whom to play! Sometimes, though, coordinating a game night is easier said than done. We all must occasionally forego the group experience and face the world as the Lonely Only. But fear not! The world of solo-play is a vast and exciting realm! What follows is a chronicle of my journey into the solo-playing world – notes on gameplay, mechanics, rules, difficulty, and overall experience with solo variations of commonly multiplayer games! I hope this will provide some insight as you continue to grow your collection, or explore your already owned games!
Welcome to the Ice Age. No, not the animated movie. I’m talking about the real deal. Arctic Scavengers is set in a post-apocalyptic ice age where the cold is deadly and the resources are scarce. Any surviving humans have banded together to form ‘tribes’ that are competing for dominance in this frigid tundra. Can you and your tribe outwit your competitors to become the most powerful group? Or will a bigger and more menacing tribe overpower you and jeopardize your survival?
Disclaimer: The solo variant is only addressed in the Recon Expansion rules. There IS another expansion – HQ – but I have not used that content in my solo plays. This review only encompasses the Base Game and Recon Expansion.
Arctic Scavengers is a deck-building game where players are recruiting mercenaries to their tribes, searching for general resources, and battling other tribes for contested resources. Each turn has two main phases – Resource Gathering and Skirmish. During Resource Gathering, you play cards from your hand to either recruit new mercenaries or search the junkyard for general resources. Any remaining cards in your hand are then used during the Skirmish phase – where the player with the highest ‘fight’ value wins the contested resource for that round. At the end of the game, the player with the biggest tribe wins!
The solo variant has some minor differences, but is played essentially the same way. In a solo game, the contested resource cards are divided into 7 skirmishes to be encountered throughout the game. You can decide when to engage in a skirmish – it is not a requirement to encounter one each turn. After each skirmish, you either win and earn a contested resource, or lose and must permanently discard a card from your losing hand. The game ends when all 7 skirmishes have been encountered. The other difference is that each time you have to re-shuffle your discard pile, you must permanently remove the top card of your new deck from the game. Beyond those changes, the game remains the same. At the end of the game, all cards in your tribe are worth certain numbers of points – the goal is to beat your own personal best score.
In theory, this game sounds super cool! But when I actually got to play it solo, I was seriously underwhelmed. The game feels stagnant in the sense that there is no tension or urgency in your strategy. Since YOU get to decide when to engage in a skirmish, it is possible to just while away the time building up your deck until you have enough cards to beat every skirmish. Yes, you permanently discard a card each time you re-shuffle your discard pile, but if you are able to recruit one or two new cards each turn, it negates the penalty of discarding a card. The ability to choose when to engage in skirmishes is seriously over-powered because there is nothing stopping you from ignoring skirmishes and amassing cards for end-game scoring.
The other grievance I have with the game is regarding the Junkyard – the deck of cards where you ‘search’ for resources. The solo rules do not explicitly address setting up the Junkyard deck at all. So do you use one or not? Not having the Junkyard deck can be a serious hinderance – certain mercenaries cannot be recruited without certain resources. If you DO play with the Junkyard, how many cards do you use? Do you use the corresponding cards from the Base game and BOTH expansions? Only Base game and one expansion? Again, not explicitly addressed. I’ve tried using all of the Junkyard cards and that is difficult – there are just too many cards in that deck. I have gone entire games without coming across a necessary resource just because the size of the deck is too large (and I’m apparently a poor card-shuffler). The simple solution to this ambiguity would have been to just address it in the rulebook. But it’s not there, so I’m left guessing as to how I should set it up every time.
I really like the idea of this game. I really don’t like the solo variant though. Not having forced skirmishes makes the game extremely boring for me – I don’t really need a strategy since I can just recruit cards until I can draw a powerful hand. If there was a timeline for skirmishes – maybe something like “You must encounter one skirmish every other turn” – the game would be vastly different. I would actually need to strategize what cards to recruit and how I should delegate my cards on turns with a skirmish. In most games, I will reach a certain point where I choose to encounter a skirmish (that I know I will lose) just because I am starting to get bored. I appreciate the sentiment of including a solo variant, but this one just does not work.
Arctic Scavengers requires decent strategy and it offers good player interaction in group games. In a solo game, however, it is just imbalanced and boring. This is one solo variant that I would not recommend that you try, unless you are including drastic house rules.
https://purplephoenixgames.wordpress.com/2019/03/06/solo-chronicles-arctic-scavengers/
Welcome to the Ice Age. No, not the animated movie. I’m talking about the real deal. Arctic Scavengers is set in a post-apocalyptic ice age where the cold is deadly and the resources are scarce. Any surviving humans have banded together to form ‘tribes’ that are competing for dominance in this frigid tundra. Can you and your tribe outwit your competitors to become the most powerful group? Or will a bigger and more menacing tribe overpower you and jeopardize your survival?
Disclaimer: The solo variant is only addressed in the Recon Expansion rules. There IS another expansion – HQ – but I have not used that content in my solo plays. This review only encompasses the Base Game and Recon Expansion.
Arctic Scavengers is a deck-building game where players are recruiting mercenaries to their tribes, searching for general resources, and battling other tribes for contested resources. Each turn has two main phases – Resource Gathering and Skirmish. During Resource Gathering, you play cards from your hand to either recruit new mercenaries or search the junkyard for general resources. Any remaining cards in your hand are then used during the Skirmish phase – where the player with the highest ‘fight’ value wins the contested resource for that round. At the end of the game, the player with the biggest tribe wins!
The solo variant has some minor differences, but is played essentially the same way. In a solo game, the contested resource cards are divided into 7 skirmishes to be encountered throughout the game. You can decide when to engage in a skirmish – it is not a requirement to encounter one each turn. After each skirmish, you either win and earn a contested resource, or lose and must permanently discard a card from your losing hand. The game ends when all 7 skirmishes have been encountered. The other difference is that each time you have to re-shuffle your discard pile, you must permanently remove the top card of your new deck from the game. Beyond those changes, the game remains the same. At the end of the game, all cards in your tribe are worth certain numbers of points – the goal is to beat your own personal best score.
In theory, this game sounds super cool! But when I actually got to play it solo, I was seriously underwhelmed. The game feels stagnant in the sense that there is no tension or urgency in your strategy. Since YOU get to decide when to engage in a skirmish, it is possible to just while away the time building up your deck until you have enough cards to beat every skirmish. Yes, you permanently discard a card each time you re-shuffle your discard pile, but if you are able to recruit one or two new cards each turn, it negates the penalty of discarding a card. The ability to choose when to engage in skirmishes is seriously over-powered because there is nothing stopping you from ignoring skirmishes and amassing cards for end-game scoring.
The other grievance I have with the game is regarding the Junkyard – the deck of cards where you ‘search’ for resources. The solo rules do not explicitly address setting up the Junkyard deck at all. So do you use one or not? Not having the Junkyard deck can be a serious hinderance – certain mercenaries cannot be recruited without certain resources. If you DO play with the Junkyard, how many cards do you use? Do you use the corresponding cards from the Base game and BOTH expansions? Only Base game and one expansion? Again, not explicitly addressed. I’ve tried using all of the Junkyard cards and that is difficult – there are just too many cards in that deck. I have gone entire games without coming across a necessary resource just because the size of the deck is too large (and I’m apparently a poor card-shuffler). The simple solution to this ambiguity would have been to just address it in the rulebook. But it’s not there, so I’m left guessing as to how I should set it up every time.
I really like the idea of this game. I really don’t like the solo variant though. Not having forced skirmishes makes the game extremely boring for me – I don’t really need a strategy since I can just recruit cards until I can draw a powerful hand. If there was a timeline for skirmishes – maybe something like “You must encounter one skirmish every other turn” – the game would be vastly different. I would actually need to strategize what cards to recruit and how I should delegate my cards on turns with a skirmish. In most games, I will reach a certain point where I choose to encounter a skirmish (that I know I will lose) just because I am starting to get bored. I appreciate the sentiment of including a solo variant, but this one just does not work.
Arctic Scavengers requires decent strategy and it offers good player interaction in group games. In a solo game, however, it is just imbalanced and boring. This is one solo variant that I would not recommend that you try, unless you are including drastic house rules.
https://purplephoenixgames.wordpress.com/2019/03/06/solo-chronicles-arctic-scavengers/
5 Minute Movie Guy (379 KP) rated Whiplash (2014) in Movies
Jul 1, 2019
Whiplash makes for a painfully tense and terrifying learning experience that is nothing short of cinematic brilliance. It'll have you on the edge of your seat, with your heart still pounding even after it's over.
I believe that there’s a desire in all of us to achieve greatness. A deep, internal yearning for importance, respect, and acceptance. We want to be remembered and we want to fulfill a sense of purpose in our lives. For Andrew Nieman (Miles Teller), the central character in the 2014 Best Picture nominated film Whiplash, that desire is to be one of the all-time great jazz drummers. Of course, he knows that accomplishing such a goal will require a firmly fixed focus, an uncompromising dedication, and endless hours of practice. What he surely wasn’t expecting was to run into a teacher like Terence Fletcher (J.K. Simmons), who will stop at nothing in order to push his students to strive to be their very best. Whiplash makes for a painfully tense and terrifying learning experience that is nothing short of cinematic brilliance.
Andrew is a first-year student at the prestigious Shaffer Conservatory of Music in New York where the presence of their great head music conductor, Terence Fletcher, looms over everyone. Fletcher is well-known, respected, and feared. More importantly, he is their ticket to success as musicians. Landing a spot in his band is a coveted high honor. Earning his respect is even greater. Though under Fletcher’s guidance, success doesn’t come easy. He rules over the school like a maniacal dictator and he demands absolute perfection from his students. After all, he has a highly revered reputation to preserve, and he’s not about to let anyone jeopardize it. Andrew finds himself lucky enough to be chosen to rehearse with Fletcher’s band, but he’s soon tested, humiliated, abused, and pushed to the limit by his short-tempered instructor.
Already something of a loner, Andrew delves even deeper within due to pressure from his teacher, turning his passion for music into an unhealthy obsession. He cuts off contact with others and devotes himself entirely to practicing. With fingers bloodied from extensive drumming, he simply bandages them up and keeps at it. Not only is his music playing taking control of his life, but it’s also clearly taking a toll on his mental health. Even more troubling for Andrew is that no matter how hard he tries, Fletcher is never satisfied, and he torments his students until they get things right, even if it means practicing all night. Resentment and tension rapidly rise for Andrew as he approaches his breaking point, resulting in the film’s unforgettably tense conclusion.
Whiplash is no walk in the park. It will have you sitting on the edge of your seat in suspense and terror, with your heart still pounding even after it’s over. It’s an emotional horror for young Andrew who is put through Hell by his mad musical conductor. I was legitimately in fear for his life and sanity. While the movie has given me a greater respect for musicians, and jazz bands in particular, it sure makes me feel glad that I was never in band!
Whiplash is remarkable in its design and execution. The film’s cinematography shows a wonderfully adept eye for camera angles, and gives this low-budget film a distinguished look. The director revels in the closeness of the scene, putting us right alongside Andrew as he comes face-to-face with the ever-menacing Fletcher. It’s unbelievably tense and uncomfortable to watch while he’s being verbally and physically assaulted right before your eyes. The film’s Oscar-winning editing finds the right tempo with knowing when to cut and when to linger. It also expertly accompanies the music with its barrage of clear, fast-paced shots. Of course, Whiplash is also very respectful to its music sources, and it does an amazing job in showcasing the outrageous musical talent on display.
The performances from Miles Teller and J.K. Simmons are sensational. It is estimated that roughly forty percent of the drumming you see by Andrew in Whiplash was actually performed by Teller. Considering the ridiculous amount of skill involved in these jazz band classics, that statistic should not be understated in the least. Teller puts on an incredible display and pours his heart into this movie. He carries the film, appearing in every single scene, and makes for a believable transition of character under the strict discipline of Fletcher. Even more extraordinary is J.K. Simmons, who won the Oscar for Best Supporting Actor with this performance. Simmons injects his character with an intense ferocity that demands your attention. He terrorizes his musicians while conducting with an iron fist. Yet there’s far more to his character than just being a bully. While I disagreed with his abusive methods, I couldn’t argue against his intended result. His character’s extreme conduct will no doubt take things too far for some viewers, but despite all of his anger, I still found Fletcher to be remarkably fascinating. In the end, as deserving of hatred as he may be, I couldn’t help but feel some level of respect for him, and I think that really speaks to the quality of the film.
Whiplash is an emotionally stirring masterpiece that questions how much is too much when it comes to pushing someone to be their best. It also explores the emotional and psychological harm that can result from that level of pressure and abuse. The movie is bolstered by two tense and energetic performances from Miles and Simmons, who are deserving of all of their praise and accolades. You don’t have to be a fan of jazz music to enjoy this phenomenal film. I found the music to be intoxicating, but the real strength of the movie is the teacher and student dynamic between Andrew and Fletcher. With a diabolically delightful and brilliant ending, these two characters have achieved an esteemed level of movie greatness that make Whiplash a must-see!
Andrew is a first-year student at the prestigious Shaffer Conservatory of Music in New York where the presence of their great head music conductor, Terence Fletcher, looms over everyone. Fletcher is well-known, respected, and feared. More importantly, he is their ticket to success as musicians. Landing a spot in his band is a coveted high honor. Earning his respect is even greater. Though under Fletcher’s guidance, success doesn’t come easy. He rules over the school like a maniacal dictator and he demands absolute perfection from his students. After all, he has a highly revered reputation to preserve, and he’s not about to let anyone jeopardize it. Andrew finds himself lucky enough to be chosen to rehearse with Fletcher’s band, but he’s soon tested, humiliated, abused, and pushed to the limit by his short-tempered instructor.
Already something of a loner, Andrew delves even deeper within due to pressure from his teacher, turning his passion for music into an unhealthy obsession. He cuts off contact with others and devotes himself entirely to practicing. With fingers bloodied from extensive drumming, he simply bandages them up and keeps at it. Not only is his music playing taking control of his life, but it’s also clearly taking a toll on his mental health. Even more troubling for Andrew is that no matter how hard he tries, Fletcher is never satisfied, and he torments his students until they get things right, even if it means practicing all night. Resentment and tension rapidly rise for Andrew as he approaches his breaking point, resulting in the film’s unforgettably tense conclusion.
Whiplash is no walk in the park. It will have you sitting on the edge of your seat in suspense and terror, with your heart still pounding even after it’s over. It’s an emotional horror for young Andrew who is put through Hell by his mad musical conductor. I was legitimately in fear for his life and sanity. While the movie has given me a greater respect for musicians, and jazz bands in particular, it sure makes me feel glad that I was never in band!
Whiplash is remarkable in its design and execution. The film’s cinematography shows a wonderfully adept eye for camera angles, and gives this low-budget film a distinguished look. The director revels in the closeness of the scene, putting us right alongside Andrew as he comes face-to-face with the ever-menacing Fletcher. It’s unbelievably tense and uncomfortable to watch while he’s being verbally and physically assaulted right before your eyes. The film’s Oscar-winning editing finds the right tempo with knowing when to cut and when to linger. It also expertly accompanies the music with its barrage of clear, fast-paced shots. Of course, Whiplash is also very respectful to its music sources, and it does an amazing job in showcasing the outrageous musical talent on display.
The performances from Miles Teller and J.K. Simmons are sensational. It is estimated that roughly forty percent of the drumming you see by Andrew in Whiplash was actually performed by Teller. Considering the ridiculous amount of skill involved in these jazz band classics, that statistic should not be understated in the least. Teller puts on an incredible display and pours his heart into this movie. He carries the film, appearing in every single scene, and makes for a believable transition of character under the strict discipline of Fletcher. Even more extraordinary is J.K. Simmons, who won the Oscar for Best Supporting Actor with this performance. Simmons injects his character with an intense ferocity that demands your attention. He terrorizes his musicians while conducting with an iron fist. Yet there’s far more to his character than just being a bully. While I disagreed with his abusive methods, I couldn’t argue against his intended result. His character’s extreme conduct will no doubt take things too far for some viewers, but despite all of his anger, I still found Fletcher to be remarkably fascinating. In the end, as deserving of hatred as he may be, I couldn’t help but feel some level of respect for him, and I think that really speaks to the quality of the film.
Whiplash is an emotionally stirring masterpiece that questions how much is too much when it comes to pushing someone to be their best. It also explores the emotional and psychological harm that can result from that level of pressure and abuse. The movie is bolstered by two tense and energetic performances from Miles and Simmons, who are deserving of all of their praise and accolades. You don’t have to be a fan of jazz music to enjoy this phenomenal film. I found the music to be intoxicating, but the real strength of the movie is the teacher and student dynamic between Andrew and Fletcher. With a diabolically delightful and brilliant ending, these two characters have achieved an esteemed level of movie greatness that make Whiplash a must-see!
5 Minute Movie Guy (379 KP) rated Baby Driver (2017) in Movies
Jul 1, 2019
Baby Driver is simply the epitome of cool, and if you’re looking for a fun and frisky thrill-ride of a movie, this is sure to be the ticket!
Edgar Wright’s Baby Driver is a pulse-pounding, jukebox-jamming blast! In this wildly entertaining crime thriller, a young man called Baby is the perennial pedal-pushing getaway driver for an Atlanta crime boss known as Doc. The two of them have worked countless jobs together, and in Doc’s mind, Baby is the only one worthy behind the wheel. Unbeknownst to Doc, however, Baby plans to wipe his hands clean and hit the road for good as soon as the opportunity arrives. Tensions steadily rise as this perfect getaway driver tries to find a way out and get away from his life of crime.
The premise in Baby Driver is a familiar one, although the movie itself is anything but. Sure, it features the cliché of one last job, but the motives here are a bit different and morality is a big focus. I’ll spare the details, but this crime movie has a heart and a conscience, and at its core, it’s really more of a love story, as Baby tries to make a daring dash for freedom all in the name of romance. After meeting a nice girl named Debora at a local diner, Baby has finally found a reason to want to break free from his past so he can live a life of love. With its romantic drive, its high-octane action, and its fresh and funky soundtrack, Baby Driver is an action thriller that would make for a perfect date night movie.
While I did very much enjoy Baby Driver, it did leave a worrisome first impression. One of the earliest scenes verges on the borderline of being a musical, and as well-crafted as the one-take scene may be, it sort of rubbed me the wrong way by making Baby look like a goofball. It was trying too hard to be cool and to me it ended up feeling pretty pretentious. Really what got me engaged in the movie was the film’s stellar supporting cast, led by Jamie Foxx, Jon Hamm, and Jon Bernthal, all of whom play bank robbers working for Doc. By the time the film’s second robbery rolled around, all else was forgiven, and I was eagerly strapped in for the ride.
The cast in this movie is outstanding. Foxx steals the show in every scene he’s in, playing a violent loose-cannon thug known as Bats. His intensity, wit, and strong distrust of others make Bats a character you won’t want to take your eyes off of. Hamm’s character Buddy is less abrasive, but no less intimidating when he’s angry. I really loved watching his nice guy façade crumble away when things got personal. Ansel Elgort, the teenage heartthrob from The Fault in Our Stars, has enough charm and coolness to make Baby an easy character to root for. Meanwhile, Kevin Spacey does a wonderful job balancing the complexity of his character, Doc. Eiza González is lovely and cool as Buddy’s girlfriend Darling, and Jon Bernthal truly makes the most out of his limited screen-time. All in all, I have nothing but praise for the actors as well as their well-written characters.
A big part of what makes Baby Driver so cool is its killer soundtrack, and it’s not just the music, but the way that it’s incorporated into the movie. The music itself is practically a character in the movie, as Baby is always playing songs through his iPod to drown out the ringing in his ears caused by a condition known as tinnitus. It’s used to great effect in terms of both plot and action. The movie’s eclectic music mix features over 40 songs, and much of the action is brilliantly synced up to the beat. The timing really ratchets up the fun factor and makes for a uniquely wild experience. I don’t know a good half of the songs in the movie, but this diversity helps give Baby Driver an identity of its own, and I look forward to taking the soundtrack for another spin.
Baby Driver is so fresh, fun, and entertaining that you’ve really just got to go see it for yourself. Edgar Wright has really made something special with his upbeat, funky crime thriller. The characters are compelling, the action is superb, and the comedy is hysterical. It’s one of the most laugh-out-loud funny movies of the year, but also full of edge-of-your-seat excitement. The movie builds tension so well, and it rarely takes its foot off the gas. I particularly loved the final act when Baby propels the intensity to new heights by taking charge of his own destiny, bringing forth an exciting and unpredictable turn of events. It puts an exhilarating and frantic twist on what is already a wild movie.
That’s not to say it’s a perfect movie, though. The ending itself left me feeling pretty unsatisfied. It forgoes the predictable ending for something different, and as respectable as that may be, it went on for too long and was a little too hokey and hard to believe for my taste. After riding high on Baby Driver’s adrenaline for so long, the ending botches the film’s momentum by devoting too much time to unnecessary explanation. While I even like the way the story concludes, I wish it could have gotten there a little more smoothly.
Bumpy start and finish aside, I really had a great time Baby Driver. It is an incredibly fun and energetic experience that the whole audience seemed to enjoy. It’s rhythmic, it’s stylish, and it’s not like any other film you’ll see this year. Baby Driver is simply the epitome of cool, and if you’re looking for a fun and frisky ride in theaters this summer, Baby Driver is sure to be the ticket.
The premise in Baby Driver is a familiar one, although the movie itself is anything but. Sure, it features the cliché of one last job, but the motives here are a bit different and morality is a big focus. I’ll spare the details, but this crime movie has a heart and a conscience, and at its core, it’s really more of a love story, as Baby tries to make a daring dash for freedom all in the name of romance. After meeting a nice girl named Debora at a local diner, Baby has finally found a reason to want to break free from his past so he can live a life of love. With its romantic drive, its high-octane action, and its fresh and funky soundtrack, Baby Driver is an action thriller that would make for a perfect date night movie.
While I did very much enjoy Baby Driver, it did leave a worrisome first impression. One of the earliest scenes verges on the borderline of being a musical, and as well-crafted as the one-take scene may be, it sort of rubbed me the wrong way by making Baby look like a goofball. It was trying too hard to be cool and to me it ended up feeling pretty pretentious. Really what got me engaged in the movie was the film’s stellar supporting cast, led by Jamie Foxx, Jon Hamm, and Jon Bernthal, all of whom play bank robbers working for Doc. By the time the film’s second robbery rolled around, all else was forgiven, and I was eagerly strapped in for the ride.
The cast in this movie is outstanding. Foxx steals the show in every scene he’s in, playing a violent loose-cannon thug known as Bats. His intensity, wit, and strong distrust of others make Bats a character you won’t want to take your eyes off of. Hamm’s character Buddy is less abrasive, but no less intimidating when he’s angry. I really loved watching his nice guy façade crumble away when things got personal. Ansel Elgort, the teenage heartthrob from The Fault in Our Stars, has enough charm and coolness to make Baby an easy character to root for. Meanwhile, Kevin Spacey does a wonderful job balancing the complexity of his character, Doc. Eiza González is lovely and cool as Buddy’s girlfriend Darling, and Jon Bernthal truly makes the most out of his limited screen-time. All in all, I have nothing but praise for the actors as well as their well-written characters.
A big part of what makes Baby Driver so cool is its killer soundtrack, and it’s not just the music, but the way that it’s incorporated into the movie. The music itself is practically a character in the movie, as Baby is always playing songs through his iPod to drown out the ringing in his ears caused by a condition known as tinnitus. It’s used to great effect in terms of both plot and action. The movie’s eclectic music mix features over 40 songs, and much of the action is brilliantly synced up to the beat. The timing really ratchets up the fun factor and makes for a uniquely wild experience. I don’t know a good half of the songs in the movie, but this diversity helps give Baby Driver an identity of its own, and I look forward to taking the soundtrack for another spin.
Baby Driver is so fresh, fun, and entertaining that you’ve really just got to go see it for yourself. Edgar Wright has really made something special with his upbeat, funky crime thriller. The characters are compelling, the action is superb, and the comedy is hysterical. It’s one of the most laugh-out-loud funny movies of the year, but also full of edge-of-your-seat excitement. The movie builds tension so well, and it rarely takes its foot off the gas. I particularly loved the final act when Baby propels the intensity to new heights by taking charge of his own destiny, bringing forth an exciting and unpredictable turn of events. It puts an exhilarating and frantic twist on what is already a wild movie.
That’s not to say it’s a perfect movie, though. The ending itself left me feeling pretty unsatisfied. It forgoes the predictable ending for something different, and as respectable as that may be, it went on for too long and was a little too hokey and hard to believe for my taste. After riding high on Baby Driver’s adrenaline for so long, the ending botches the film’s momentum by devoting too much time to unnecessary explanation. While I even like the way the story concludes, I wish it could have gotten there a little more smoothly.
Bumpy start and finish aside, I really had a great time Baby Driver. It is an incredibly fun and energetic experience that the whole audience seemed to enjoy. It’s rhythmic, it’s stylish, and it’s not like any other film you’ll see this year. Baby Driver is simply the epitome of cool, and if you’re looking for a fun and frisky ride in theaters this summer, Baby Driver is sure to be the ticket.
Gareth von Kallenbach (980 KP) rated Annabelle Comes Home (2019) in Movies
Jun 28, 2019
Not The Best In The Series But Entertains
One of the most intriguing yet often exaggerated lines in movie history is “based on actual events”. I’ve always had a fascination with supernatural thrillers that came with this tag line, whether it’s a movie like Amityville Horror or The Exorcism of Emily Rose. None of these are more popular than The Conjuring series, based on two real life demonologists Ed and Lorraine Warren. Whether you believe in ghosts and haunted houses or not, these films always played on the notion that the events “could” possibly happen…even if they were exaggerated for Hollywood audiences. Annabelle Comes Home breaks the trend of previous Conjuring movies by not bothering to pretend that it’s based on any of the “actual” events from the previous films. So how does it stack up to its predecessors?
The movie begins with Ed and Lorraine Warren retrieving Annabelle and taking the scary doll home to lock her away in the now infamous artifact room. The dolls presence is so evil, that it takes not only blessings by a priest but being locked away in a case made up of glass from an old church to keep it’s evil at bay. Not only is the display case locked, but a sign is placed upon it, warning any who may enter not to release the doll within. Several pad locks later the Warrens feel comfortable that the evil within is contained.
A year passes and both Ed and Lorraine are called away on business, entrusting the care of their young daughter Judy (McKenna Grace) to her responsible babysitter Mary Ellen (Madison Iseman). Mary Ellen’s friend Daniela (Katie Sarife) blackmails Mary Ellen into allowing her to come over and stay with her and Judy in the Warren’s household. Using an opportunity when both Judy and Mary Ellen are out of the house, Daniela finds the artifact room (and the keys necessary to open it), and what at first appears to be idle curiosity, quickly turns into an attempt to utilize the artifacts in the room to reach out to her recently deceased father. It is in this attempt that Daniela unknowingly releases the evil in the room when she opens the case that Annabelle is in (it’s not like there was a BIG sign warning her not to do so).
Annabelle in her search for a soul, releases the full power and evil of all the artifacts in the room. Everything from an empty suit of Samurai armor to a wedding dress the drives the wearer insane is on display. Even a werewolf is released upon the world hunting an unwary suitor of Mary Ellen’s who happens to be at the wrong place at the wrong time. It’s up to this band of babysitters and children to restore order to the house and find a way to contain the evil that has been brought upon the world.
Annabelle Comes Home starts out fairly slow and takes awhile to build the tension. The first hour of the movie is mainly the interaction between the family and friends, and introductions to the various artifacts that are in the room. It’s not until the second half of the film when things really begin to take off. When the movie finally hits its creepy stride, it has plenty of genuine scares and intense moments, but focuses on several of the iconic artifacts and their affect on the individuals in the house.
While each of the artifacts has its own unique and interesting characteristics, we are hit with a barrage of items that are each going after one of the guests in the house. Whether it’s the television that can predict the future, or the locket that allows communication with the dead, it’s a lot to keep track of and tends to lose focus on the main plot. The movie attempts to cram every noticeable item from its previous films and give it some main purpose in the plot. In fact, the creepiest of all the artifacts Annabelle, takes on the role of evil puppet master controlling the artifacts which means less screen time and scares for her. Personally, Annabelle is scary enough to carry her own film (she has in previous installments), but in this film she is relegated to a side character, where the haunted artifacts take center stage.
The area I feel the movie loses the most is in the “believability” state. Remember that the Conjuring universe is based on real people, and on their actual encounters. Unfortunately, at no point in this film does one believe that any of these supernatural events could be mistaken for reality. It’s what I feel is the difference between a supernatural thriller and simply a monster movie. Much like other supernatural films, it’s about what you don’t see, rather than what you do, and Annabelle Comes Home unfortunately relies too much on its visuals leaving little to the viewers imagination. Imagining what a demon could look like is scarier than what Hollywood can dream up and show on the screen.
Ultimately Annabelle Comes home is a good movie which should have been great. It forgoes much of what made the series popular and replaces it with some goofy scenes and special effects. The artifacts are interesting, which makes the movie enjoyable, but not scary. I went in with hopes that I’d leave at least a little unnerved, looking under my covers, or turning the numerous dolls around that adorn my wife’s doll room. Unfortunately, I left feeling as though I’d simply been given a tour of the artifact room, with one night of scares that would disappear the next morning, as if from a bad dream. If you are looking to be scared, this movie likely won’t do that. If you are looking for an interesting movie with deeper background into the artifacts that have adorned the Warrens room for the past films, then this is the film for you.
3 out of 5 stars
http://sknr.net/2019/06/20/annabelle-comes-home/
The movie begins with Ed and Lorraine Warren retrieving Annabelle and taking the scary doll home to lock her away in the now infamous artifact room. The dolls presence is so evil, that it takes not only blessings by a priest but being locked away in a case made up of glass from an old church to keep it’s evil at bay. Not only is the display case locked, but a sign is placed upon it, warning any who may enter not to release the doll within. Several pad locks later the Warrens feel comfortable that the evil within is contained.
A year passes and both Ed and Lorraine are called away on business, entrusting the care of their young daughter Judy (McKenna Grace) to her responsible babysitter Mary Ellen (Madison Iseman). Mary Ellen’s friend Daniela (Katie Sarife) blackmails Mary Ellen into allowing her to come over and stay with her and Judy in the Warren’s household. Using an opportunity when both Judy and Mary Ellen are out of the house, Daniela finds the artifact room (and the keys necessary to open it), and what at first appears to be idle curiosity, quickly turns into an attempt to utilize the artifacts in the room to reach out to her recently deceased father. It is in this attempt that Daniela unknowingly releases the evil in the room when she opens the case that Annabelle is in (it’s not like there was a BIG sign warning her not to do so).
Annabelle in her search for a soul, releases the full power and evil of all the artifacts in the room. Everything from an empty suit of Samurai armor to a wedding dress the drives the wearer insane is on display. Even a werewolf is released upon the world hunting an unwary suitor of Mary Ellen’s who happens to be at the wrong place at the wrong time. It’s up to this band of babysitters and children to restore order to the house and find a way to contain the evil that has been brought upon the world.
Annabelle Comes Home starts out fairly slow and takes awhile to build the tension. The first hour of the movie is mainly the interaction between the family and friends, and introductions to the various artifacts that are in the room. It’s not until the second half of the film when things really begin to take off. When the movie finally hits its creepy stride, it has plenty of genuine scares and intense moments, but focuses on several of the iconic artifacts and their affect on the individuals in the house.
While each of the artifacts has its own unique and interesting characteristics, we are hit with a barrage of items that are each going after one of the guests in the house. Whether it’s the television that can predict the future, or the locket that allows communication with the dead, it’s a lot to keep track of and tends to lose focus on the main plot. The movie attempts to cram every noticeable item from its previous films and give it some main purpose in the plot. In fact, the creepiest of all the artifacts Annabelle, takes on the role of evil puppet master controlling the artifacts which means less screen time and scares for her. Personally, Annabelle is scary enough to carry her own film (she has in previous installments), but in this film she is relegated to a side character, where the haunted artifacts take center stage.
The area I feel the movie loses the most is in the “believability” state. Remember that the Conjuring universe is based on real people, and on their actual encounters. Unfortunately, at no point in this film does one believe that any of these supernatural events could be mistaken for reality. It’s what I feel is the difference between a supernatural thriller and simply a monster movie. Much like other supernatural films, it’s about what you don’t see, rather than what you do, and Annabelle Comes Home unfortunately relies too much on its visuals leaving little to the viewers imagination. Imagining what a demon could look like is scarier than what Hollywood can dream up and show on the screen.
Ultimately Annabelle Comes home is a good movie which should have been great. It forgoes much of what made the series popular and replaces it with some goofy scenes and special effects. The artifacts are interesting, which makes the movie enjoyable, but not scary. I went in with hopes that I’d leave at least a little unnerved, looking under my covers, or turning the numerous dolls around that adorn my wife’s doll room. Unfortunately, I left feeling as though I’d simply been given a tour of the artifact room, with one night of scares that would disappear the next morning, as if from a bad dream. If you are looking to be scared, this movie likely won’t do that. If you are looking for an interesting movie with deeper background into the artifacts that have adorned the Warrens room for the past films, then this is the film for you.
3 out of 5 stars
http://sknr.net/2019/06/20/annabelle-comes-home/