Search
Search results
Gareth von Kallenbach (980 KP) rated Detroit (2017) in Movies
Jul 11, 2019
“Detroit” tells the story of the Algiers Motel incident that took place during the massive 12th Street Riot in 1967 Detroit, Michigan. Director Kathryn Bigelow and writer Mark Boal have created a stunning film that will suck the audience into a historical moment of horror.
The film, based on what is known about true events, takes viewers into a world of absolute terror as the streets of Detroit become a warzone filled with racial hatred and violence. After a police raid, looters took to the streets vandalizing and robbing local storefronts.
Rapidly, the police response grew into extreme reactionary violence and fueled the fire of the riot. The national guard is called in and rather than getting the situation under control, the city devolves into what looks like a warzone in a foreign land.
The film has a great build up and the characters are developed quite well by the time the thick of the plot gets started around the Algiers Motel Incident, an event that resulted in the deaths of three black men and the torture of nine other people.
The entire cast is amazing. Heart strings are pulled by the characters portraying Larry Reed (Algee Smith) and Fred (Jacob Latimore), two musicians that are caught in a horrific nightmare simply by being in the wrong place at the wrong time.
John Boyega also delivers a heart wrenching performance as Melvin Dismukes, a black man who tries at great length to stay safe and keep the peace. His character is portrayed as caught in the cross fires of morality and necessity.
Will Poulter plays a real-life villain as blood thirsty and racist police officer, Phillip Krauss. His portrayal of Krauss is terrifying.
The film as a film, is gripping, an amazing cinematic feat. But, the story is painful to watch. Scarier than any horror film, “Detroit” brings to light one of the darkest sides of the human species and a bloody stain on American history.
The film, based on what is known about true events, takes viewers into a world of absolute terror as the streets of Detroit become a warzone filled with racial hatred and violence. After a police raid, looters took to the streets vandalizing and robbing local storefronts.
Rapidly, the police response grew into extreme reactionary violence and fueled the fire of the riot. The national guard is called in and rather than getting the situation under control, the city devolves into what looks like a warzone in a foreign land.
The film has a great build up and the characters are developed quite well by the time the thick of the plot gets started around the Algiers Motel Incident, an event that resulted in the deaths of three black men and the torture of nine other people.
The entire cast is amazing. Heart strings are pulled by the characters portraying Larry Reed (Algee Smith) and Fred (Jacob Latimore), two musicians that are caught in a horrific nightmare simply by being in the wrong place at the wrong time.
John Boyega also delivers a heart wrenching performance as Melvin Dismukes, a black man who tries at great length to stay safe and keep the peace. His character is portrayed as caught in the cross fires of morality and necessity.
Will Poulter plays a real-life villain as blood thirsty and racist police officer, Phillip Krauss. His portrayal of Krauss is terrifying.
The film as a film, is gripping, an amazing cinematic feat. But, the story is painful to watch. Scarier than any horror film, “Detroit” brings to light one of the darkest sides of the human species and a bloody stain on American history.
ClareR (6247 KP) rated Things In Jars in Books
Sep 22, 2019
Victorian England, a female detective and a touch of the supernatural - what’s not to like?
Things in Jars is set in Victorian London. Bridie Devine is a female detective who is called on by Sir Edmund Athelstan Berwick, a baronet, to find his secret daughter, Christabel, who has been kidnapped. However, he doesn’t want to involve the police (this is where alarm bells start to go off!). Very few people in his household know about the existence of Christabel, and she is shut away, ostensibly to protect them from her. Because Christabel is not an ordinary child: she has supernatural powers that can harm people. Bridie doesn’t believe this, of course. So with the help of Cora, her 7 foot tall housemaid and Ruby, the ghost of a prizefighter, she sets out to rescue the child.
I absolutely loved this book. I was never sure if the mythical, fairytale elements were real, or whether Bridie believed them to be real. The seedy, macabre side to London, the sights and smells of the winding streets and the general atmosphere were so well described, that I could have been standing next to Bridie, watching the moving tattoos across Ruby’s torso! Bridie is an excellent character. She feels compelled to find Christabel, mainly because she is coming to the job with a failure weighing heavy on her shoulders, but also she can remember being alone in the world as a child.
Mrs Bibby is a superb villain - she has her conspirators dancing to her tune. She has a gun (and a limp!) and she’s not afraid to use it! Her macabre ‘fairytales’ really ramped up the atmosphere, and showed how truly awful she was. There was a real menace about her.
Other than what I’ve said here, all I can really say is - go and read this book! I loved it (I’ve said that already, I know!), go and read it - you won’t be sorry!
Many thanks to NetGalley and the publisher for my copy of this book.
I absolutely loved this book. I was never sure if the mythical, fairytale elements were real, or whether Bridie believed them to be real. The seedy, macabre side to London, the sights and smells of the winding streets and the general atmosphere were so well described, that I could have been standing next to Bridie, watching the moving tattoos across Ruby’s torso! Bridie is an excellent character. She feels compelled to find Christabel, mainly because she is coming to the job with a failure weighing heavy on her shoulders, but also she can remember being alone in the world as a child.
Mrs Bibby is a superb villain - she has her conspirators dancing to her tune. She has a gun (and a limp!) and she’s not afraid to use it! Her macabre ‘fairytales’ really ramped up the atmosphere, and showed how truly awful she was. There was a real menace about her.
Other than what I’ve said here, all I can really say is - go and read this book! I loved it (I’ve said that already, I know!), go and read it - you won’t be sorry!
Many thanks to NetGalley and the publisher for my copy of this book.
Matthew Krueger (10051 KP) rated The Dark Knight (2008) in Movies
Oct 10, 2019
My Favorite Movie of All Time
This is my favorite movie of all time. It is my number 1 movie of all time. I love this movie. Its my number 1 best movies of all time. Its number 1 of my top ten best movies of all time.
The Dark Knight- to me is perfect, it is excellent, epic and tops batman begins. This to me is the best sqeuel of all time. It does so much within 2hrs and 45mins, that you have to watch it again because it was that great.
The Plot, the suspense, the darkness, the acting, the performaces, the lines, every last detail is great.
You have lines like:
"Ya wanna know how I got these scars?"
"Why so Serious?"
"Let's put a smile on that face!".
"Some men just want to watch the world burn."
"What doesn't kill you makes you stranger."
"Its simple, we kill the Batman."
"You either die a hero or live long enough to see yourself become the villain".
So many great and memorable lines.
Two Words- Heath Ledger- he make his joker his own. He was so excellent and great as the joker. I even have a poster of his joker, thats how much i love this film. Heath Ledger will go down as to me the best joker of all time. He will be missed.
The Plot: With the help of allies Lt. Jim Gordon (Gary Oldman) and DA Harvey Dent (Aaron Eckhart), Batman (Christian Bale) has been able to keep a tight lid on crime in Gotham City. But when a vile young criminal calling himself the Joker (Heath Ledger) suddenly throws the town into chaos, the caped Crusader begins to tread a fine line between heroism and vigilantism.
I can go on and on, on how much i love this film. If you havent seen it, than go watch it. I highly reccordmend watching this movie.
The Dark Knight- to me is perfect, it is excellent, epic and tops batman begins. This to me is the best sqeuel of all time. It does so much within 2hrs and 45mins, that you have to watch it again because it was that great.
The Plot, the suspense, the darkness, the acting, the performaces, the lines, every last detail is great.
You have lines like:
"Ya wanna know how I got these scars?"
"Why so Serious?"
"Let's put a smile on that face!".
"Some men just want to watch the world burn."
"What doesn't kill you makes you stranger."
"Its simple, we kill the Batman."
"You either die a hero or live long enough to see yourself become the villain".
So many great and memorable lines.
Two Words- Heath Ledger- he make his joker his own. He was so excellent and great as the joker. I even have a poster of his joker, thats how much i love this film. Heath Ledger will go down as to me the best joker of all time. He will be missed.
The Plot: With the help of allies Lt. Jim Gordon (Gary Oldman) and DA Harvey Dent (Aaron Eckhart), Batman (Christian Bale) has been able to keep a tight lid on crime in Gotham City. But when a vile young criminal calling himself the Joker (Heath Ledger) suddenly throws the town into chaos, the caped Crusader begins to tread a fine line between heroism and vigilantism.
I can go on and on, on how much i love this film. If you havent seen it, than go watch it. I highly reccordmend watching this movie.
LeftSideCut (3776 KP) rated American Horror Story - Season 9 in TV
May 10, 2020
The ninth season of AHS, subtitled "1984" is definitely up there in terms of silliness. However, where this has been an issue for me with a few previous seasons, this time around it's a huge strong point.
1984 is one big homage to 80s slasher films, in particular Friday the 13th. If you've read my any of my reviews before, you will know that I bloody love a slasher, even the shitty ones, so this premise was always going to be a winner for me.
A big change this time around is the absence of big AHS names. No Sarah Paulson, no Evan Peters, no Kathy Bates. Their presence is certainly missed in some sort of capacity, but the cast we have do a solid job at carrying the season. Emma Roberts and Billie Lourd take centre stage here, and are both great. We also see some familiar faces in Leslie Grossman, Cody Fern, John Carroll Lynch, Finn Wittrock, Leslie Jordan, Lily Rabe, and Dylan McDermott, so it still has that signature AHS feel. A couple of newcomers are introduced as well - Matthew Morrison and Gus Kenworthy are both hilarious. Zach Villa plays real life serial killer Richard Ramirez (who briefly appeared all the way back in Hotel) and the guy is genuinely menacing. If another season of Twin Peaks ever gets made - he's a dead ringer for Killer Bob.
One of the highlights is "villain" Mr. Jingles (John Carroll Lynch). He's such a finely crafted character, that he honestly deserves to stand next to the Jason and Freddy's of the slasher world.
The story is pretty fun. Mixing 80s campy horror with more familiar AHS elements (such as ghosts not being able to leave the place they died etc) and is pretty engaging for the most part. It gets a little convoluted near the end, and lacks the depth that seasons such as Asylum and Roanoke gave, but it's forgiveable considering the quality of everything else.
As a final thought - the synthwave version of the theme tune is fucking awesome.
1984 is one big homage to 80s slasher films, in particular Friday the 13th. If you've read my any of my reviews before, you will know that I bloody love a slasher, even the shitty ones, so this premise was always going to be a winner for me.
A big change this time around is the absence of big AHS names. No Sarah Paulson, no Evan Peters, no Kathy Bates. Their presence is certainly missed in some sort of capacity, but the cast we have do a solid job at carrying the season. Emma Roberts and Billie Lourd take centre stage here, and are both great. We also see some familiar faces in Leslie Grossman, Cody Fern, John Carroll Lynch, Finn Wittrock, Leslie Jordan, Lily Rabe, and Dylan McDermott, so it still has that signature AHS feel. A couple of newcomers are introduced as well - Matthew Morrison and Gus Kenworthy are both hilarious. Zach Villa plays real life serial killer Richard Ramirez (who briefly appeared all the way back in Hotel) and the guy is genuinely menacing. If another season of Twin Peaks ever gets made - he's a dead ringer for Killer Bob.
One of the highlights is "villain" Mr. Jingles (John Carroll Lynch). He's such a finely crafted character, that he honestly deserves to stand next to the Jason and Freddy's of the slasher world.
The story is pretty fun. Mixing 80s campy horror with more familiar AHS elements (such as ghosts not being able to leave the place they died etc) and is pretty engaging for the most part. It gets a little convoluted near the end, and lacks the depth that seasons such as Asylum and Roanoke gave, but it's forgiveable considering the quality of everything else.
As a final thought - the synthwave version of the theme tune is fucking awesome.
The Lost Princess of Oz
8.0
Rate It
Book
Princess Ozma is missing! When Dorothy awakens one morning to discover that the beloved ruler of the...
Modern Combat 4: Zero Hour
Games and Entertainment
App
The #1 FPS is back on smartphone with a new chapter to push the boundaries of mobile gaming even...
Bob Mann (459 KP) rated Star Trek Beyond (2016) in Movies
Sep 28, 2021
So, we reach the end (for the present time) of the trek. And, although others seem to like this one, I was left disappointed. I’ve actually only ever seen this movie once, at the cinema (my original review is here). But my second viewing left me feeling equally underwhelmed – in fact (without referring!) I came up with exactly the same so-so rating.
Yes, there’s action. If anything, there’s way TOO much frenetic action in the first 30 minutes. The use of the swarm is excellent (harking back to the deadly nanites in the original series): the Enterprise is used to defending itself against big things it can hit…. not thousands of tiny things! But (and I know this is all ‘make-believe’ stuff), all of the attacks, disintegrations and ‘landings’ in these films need to stay the right side of the ‘vaguely credible’ line. And this one oversteps it by some margin.
After that first 30 minutes, the plot stays pretty much planet-bound (never, for me, Trek at its best – see “Insurrection”). The action that ensues is pleasing enough, without ever recharging my dilithium crystals.
But my biggest complaint is with the story around the villain Krall. His rationale for his evil actions are never properly explained. And neither is how the ‘McGuffin’ device is supposed to operate, which is pretty crucial in the finale. How Uhuru manages to recognise who Krall really is from a brief ‘recharging’ scene seems unlikely (I seem to remember more of a “reveal” at the cinema…. was there a cut on the DVD version?). And why does he partially change back? So many questions, so few answers.
This was the last acting performance of Anton Yelchin before his untimely death at the age of just 27. The film is simply dedicated “For Anton” in the closing titles. And there is a nice on-screen tribute to Leonard Nimoy as well, which is both simple and touching.
So, not a high-spot in Trek movie history for me. But where will we be boldly going next?
Yes, there’s action. If anything, there’s way TOO much frenetic action in the first 30 minutes. The use of the swarm is excellent (harking back to the deadly nanites in the original series): the Enterprise is used to defending itself against big things it can hit…. not thousands of tiny things! But (and I know this is all ‘make-believe’ stuff), all of the attacks, disintegrations and ‘landings’ in these films need to stay the right side of the ‘vaguely credible’ line. And this one oversteps it by some margin.
After that first 30 minutes, the plot stays pretty much planet-bound (never, for me, Trek at its best – see “Insurrection”). The action that ensues is pleasing enough, without ever recharging my dilithium crystals.
But my biggest complaint is with the story around the villain Krall. His rationale for his evil actions are never properly explained. And neither is how the ‘McGuffin’ device is supposed to operate, which is pretty crucial in the finale. How Uhuru manages to recognise who Krall really is from a brief ‘recharging’ scene seems unlikely (I seem to remember more of a “reveal” at the cinema…. was there a cut on the DVD version?). And why does he partially change back? So many questions, so few answers.
This was the last acting performance of Anton Yelchin before his untimely death at the age of just 27. The film is simply dedicated “For Anton” in the closing titles. And there is a nice on-screen tribute to Leonard Nimoy as well, which is both simple and touching.
So, not a high-spot in Trek movie history for me. But where will we be boldly going next?
LeftSideCut (3776 KP) rated Shang-Chi and the Legend of the Ten Rings (2021) in Movies
Sep 5, 2021 (Updated Oct 2, 2021)
The latest entry into the MCU is a definitely a ride, both in terms of quality and in what unfolds on screen. The things I disliked about Shang-Chi are very clear cut - it's pacing is all over the place, there's an unholy amount of exposition dumps, and the humourous moments didn't always land. I have nothing against Awkwafina, but her character here is a constant quip-machine, and takes up a hefty amount of screen time, whilst simultaneously feeling a little pointless when all is said and done.
However, the things I did like about Shang-Chi are also extremely clear cut. For a starter, I'm just generally stoked that the character himself has his own movie. We've come a long way since X-Men blew the superhero genre wide open back in 2000.
It has a great cast, including lead Simu Liu, as well as the likes of Tony Leung and Michelle Yeoh. The inner comic book nerd in me was beyond excited to see minor villains such as Razor Fist and Death Dealer on screen, and then of course (no spoilers!) a third act villain that is a true deep cut from the comics. Tony Leung's Wenwu aka The Mandarin strikes an imposing presence as the main big bad, and the subsequent theme of power and family gives the movie a beating, if tragic, heart.
Pretty much all of the fight scenes are great, and any flaws that I found were completely obliterated by the batshit insane final third, that honestly verges on live action anime at times.
The general tone of this movie feels like something new for the MCU. From street level fighting, to crazy fantasy style set pieces, to the exploration of Asian culture, Shang-Chi is a fresh new entry for the MCU, as the studio steps a little further out of its comfort zone. Please try to see it on the big screen if you can!
However, the things I did like about Shang-Chi are also extremely clear cut. For a starter, I'm just generally stoked that the character himself has his own movie. We've come a long way since X-Men blew the superhero genre wide open back in 2000.
It has a great cast, including lead Simu Liu, as well as the likes of Tony Leung and Michelle Yeoh. The inner comic book nerd in me was beyond excited to see minor villains such as Razor Fist and Death Dealer on screen, and then of course (no spoilers!) a third act villain that is a true deep cut from the comics. Tony Leung's Wenwu aka The Mandarin strikes an imposing presence as the main big bad, and the subsequent theme of power and family gives the movie a beating, if tragic, heart.
Pretty much all of the fight scenes are great, and any flaws that I found were completely obliterated by the batshit insane final third, that honestly verges on live action anime at times.
The general tone of this movie feels like something new for the MCU. From street level fighting, to crazy fantasy style set pieces, to the exploration of Asian culture, Shang-Chi is a fresh new entry for the MCU, as the studio steps a little further out of its comfort zone. Please try to see it on the big screen if you can!
LeftSideCut (3776 KP) rated Till Death (2021) in Movies
Oct 6, 2021
Contains spoilers, click to show
Till Death is a pretty middle-of-the-road thriller that somehow manages to both benefit and suffer from its no-nonsense approach to, well everything really. On the one hand, it's premise is an enticing one - after finding out about her affair, Emma's (Megan Fox) husband leads her out to a remote cabin under the false pretense of an anniversary getaway, handcuffs the two of them together by the wrists, and proceeds to shoot himself, leaving her attached to his dead body and fighting for her life when two hitmen come by to finish the job. This setup leads to a decent amount of tension, it's snowy setting exacerbating her survival conditions.
There aren't really any twists or turns to be had, and everything plays out fairly predictably, and quite honestly, it wouldn't work as well without the cast attached to it. Megan Fox has proved with vehicles such as Jennifer's Body that she is more than capable to lead a horror flick with style, and Till Death cements that fact. Her character is pretty badass, and Fox gives us a protagonist that's worth rooting for. On the flip side, the two hitmen-brother actors are great as well. Callan Mulvey in particular cuts an imposing figure as the movies main villain.
The narrative flirts with deeper context here and there but sadly never pulls the trigger. Mulvey's character is a person from Emma's past, having mugged her some years ago. The plot clearly spells out that there was motive behind this, but never explores this aspect, leaving a frustrating and unexplained story thread. The relationship between the brothers is interesting also, and at one point threatens to present a dilemma in who to side with, but again, it never actually goes there, and as such, reeks of a wasted opportunity for a far more interesting story than the one presented.
For what it is though, Till Death is a competent and entertaining enough thriller/horror to add to a spooky season watchlist
There aren't really any twists or turns to be had, and everything plays out fairly predictably, and quite honestly, it wouldn't work as well without the cast attached to it. Megan Fox has proved with vehicles such as Jennifer's Body that she is more than capable to lead a horror flick with style, and Till Death cements that fact. Her character is pretty badass, and Fox gives us a protagonist that's worth rooting for. On the flip side, the two hitmen-brother actors are great as well. Callan Mulvey in particular cuts an imposing figure as the movies main villain.
The narrative flirts with deeper context here and there but sadly never pulls the trigger. Mulvey's character is a person from Emma's past, having mugged her some years ago. The plot clearly spells out that there was motive behind this, but never explores this aspect, leaving a frustrating and unexplained story thread. The relationship between the brothers is interesting also, and at one point threatens to present a dilemma in who to side with, but again, it never actually goes there, and as such, reeks of a wasted opportunity for a far more interesting story than the one presented.
For what it is though, Till Death is a competent and entertaining enough thriller/horror to add to a spooky season watchlist
DaveySmithy (107 KP) rated Venom: The Last Dance (2024) in Movies
Dec 4, 2024
A Chaotic Farewell with Flashes of Brilliance
Venom: Last Dance marks the end of Eddie Brock’s wild, symbiotic saga, and while it doesn’t entirely stick the landing, it’s a fittingly chaotic swan song for the antihero. With Tom Hardy once again embracing the absurdity of his dual role, the film offers plenty of the franchise’s trademark blend of humor, action, and madness—but it’s also weighed down by an uneven plot and overambitious storytelling.
One of the highlights of this film is, unsurprisingly, Tom Hardy. His commitment to playing both the brooding Eddie and the wisecracking, gluttonous Venom remains the beating heart of this franchise. Their banter is sharper than ever, delivering both laughs and surprisingly tender moments as their unconventional “relationship” reaches new levels of complexity. Hardy’s performance makes it easy to forgive some of the film’s narrative shortcomings.
Visually, Last Dance is a mixed bag. The action sequences are bigger and flashier than ever, with symbiote battles that explode across the screen in frenetic bursts of CGI. Some of these moments are thrilling, but others veer into sensory overload, leaving me wishing for a bit more clarity and restraint. The film’s attempt to lean into darker, more gothic visuals works in some scenes but feels inconsistent overall.
The plot, while ambitious, tries to juggle too many elements at once. A new villain, played with gusto by a high-profile (but slightly underutilized) actor, brings menace to the story, but their motivations are murky and underdeveloped. Meanwhile, the film’s exploration of Venom’s origins is intriguing but feels rushed, leaving me craving more depth and fewer loose ends.
Despite its flaws, Venom: Last Dance manages to deliver an entertaining and emotional farewell to the character. It’s messy, but there’s a charm in its willingness to embrace the absurd. Fans of the series will find plenty to enjoy, though it’s unlikely to win over newcomers. For me, it’s a 7/10—an imperfect but enjoyable final ride with one of Marvel’s most unpredictable antiheroes.
One of the highlights of this film is, unsurprisingly, Tom Hardy. His commitment to playing both the brooding Eddie and the wisecracking, gluttonous Venom remains the beating heart of this franchise. Their banter is sharper than ever, delivering both laughs and surprisingly tender moments as their unconventional “relationship” reaches new levels of complexity. Hardy’s performance makes it easy to forgive some of the film’s narrative shortcomings.
Visually, Last Dance is a mixed bag. The action sequences are bigger and flashier than ever, with symbiote battles that explode across the screen in frenetic bursts of CGI. Some of these moments are thrilling, but others veer into sensory overload, leaving me wishing for a bit more clarity and restraint. The film’s attempt to lean into darker, more gothic visuals works in some scenes but feels inconsistent overall.
The plot, while ambitious, tries to juggle too many elements at once. A new villain, played with gusto by a high-profile (but slightly underutilized) actor, brings menace to the story, but their motivations are murky and underdeveloped. Meanwhile, the film’s exploration of Venom’s origins is intriguing but feels rushed, leaving me craving more depth and fewer loose ends.
Despite its flaws, Venom: Last Dance manages to deliver an entertaining and emotional farewell to the character. It’s messy, but there’s a charm in its willingness to embrace the absurd. Fans of the series will find plenty to enjoy, though it’s unlikely to win over newcomers. For me, it’s a 7/10—an imperfect but enjoyable final ride with one of Marvel’s most unpredictable antiheroes.