Search
Search results
LeftSideCut (3776 KP) rated Scream 3 (2000) in Movies
Nov 7, 2020 (Updated Nov 7, 2020)
The third entry in the Scream franchise is a mixed bag to say the least. It takes everything that made the first two so enjoyable, and throws more of it at the audience, but unfortunately it just doesn't land as well as one would hope.
Scream is known for being a meta commentary on the general ins and outs of the horror genre, but I would argue that it goes a little overboard this time around. A big part of the plot revolves around a huge retcon, changing the established backstory set up in the first movie. Cue a somewhat forced cameo from fan favourite character Randy to explain the rules of a trilogy to the surviving leads (and poke fun at this plot development) but it fails to distract from the fact that this narrative is a complete mess.
The killers motives and patterns are unclear and constantly change, and the eventual twist and identify reveal of this movies Ghostface is hugely underwhelming, and is just re treading ground that has already been explored in the previous Scream films. Also, that voice changing plot device is just dumb.
In response to the public outcry of media violence following the Columbine shootings, there is a lot less gore this time around which also hurts the overall experience. It loses its shock factor that was particularly prevalent in the original, and gives the film a sort of blunt edge, and instead focuses on the hit and miss comedy aspect.
All this being said, Scream 3 is still enjoyable when it needs to be. The returning trio of Neve Campbell, Courtney Cox, and David Arquette is essential to that particular element. These characters have been fleshed out well over these movies, and seeing them together on screen is always a treat. Everyone else is largely forgettable, but the film manages to shoehorn in cameos from Jay and Silent Bob, and Carrie Fisher, which just adds to surrealism of it all.
Not Wes Craven's finest hour by a long shot, but still an enjoyable enough slasher, and still a part of a hugely important horror series.
Scream is known for being a meta commentary on the general ins and outs of the horror genre, but I would argue that it goes a little overboard this time around. A big part of the plot revolves around a huge retcon, changing the established backstory set up in the first movie. Cue a somewhat forced cameo from fan favourite character Randy to explain the rules of a trilogy to the surviving leads (and poke fun at this plot development) but it fails to distract from the fact that this narrative is a complete mess.
The killers motives and patterns are unclear and constantly change, and the eventual twist and identify reveal of this movies Ghostface is hugely underwhelming, and is just re treading ground that has already been explored in the previous Scream films. Also, that voice changing plot device is just dumb.
In response to the public outcry of media violence following the Columbine shootings, there is a lot less gore this time around which also hurts the overall experience. It loses its shock factor that was particularly prevalent in the original, and gives the film a sort of blunt edge, and instead focuses on the hit and miss comedy aspect.
All this being said, Scream 3 is still enjoyable when it needs to be. The returning trio of Neve Campbell, Courtney Cox, and David Arquette is essential to that particular element. These characters have been fleshed out well over these movies, and seeing them together on screen is always a treat. Everyone else is largely forgettable, but the film manages to shoehorn in cameos from Jay and Silent Bob, and Carrie Fisher, which just adds to surrealism of it all.
Not Wes Craven's finest hour by a long shot, but still an enjoyable enough slasher, and still a part of a hugely important horror series.
Lyndsey Gollogly (2893 KP) rated The Jaguar King (The Wild Rites Saga #1) in Books
Apr 12, 2021
50 of 250
Kindle
The Jaguar King ( The Wild Rites saga book 1)
By Anne Mcilwraith
Once read a review will be written via Smashbomb and link posted in comments
Magic is real? Big deal. Bills still gotta be paid.
Especially when you’re heading into vet med. Emma Chase is nothing special – if anything, with a roomie who turns into a jaguar on a regular basis, she’s the sidekick, not the heroine. Her superpowers have more to do with acing her finals and overworking herself. Knowing her best friend’s secret makes it easier to justify her own inclination to keep people at a distance, but it doesn’t change her life.
Until others like him show up on her doorstep, convinced she’s the fated savior of their race, telling her she’s destined to command the magic of – well, Emma doesn’t quite catch that part, she’s too busy getting her ass the hell out of there.
What she does know? The Jaguar King is after her, his rivals want her dead, and she doesn’t have to believe in prophecy to believe they’ll stop at nothing to catch her.
Violence. Magic. Inappropriate humor. Step into a world of wonder and savagery in a gritty urban fantasy with an unlikely heroine, sizzling heroes, and complicated villains. The Jaguar King is a full-length read and the first in a series, and all the books have satisfying resolutions as well as a series-spanning story arc. Definitely no cliff-hangers – just bad-ass shifters with one goal: claim the prize. Claim the Caller of the Blood.
I so wanted to give this more than 2 stars! The main character is good she can kick ass and has sass but it’s all a bit over complicated. I found it rushed in places and hard to read in others. It’s not all bad though I’ve been dying for a spider shifter for so long and in this area I was not disappointed and I love the link that Emma has with Fern!
The fighting scenes were a bit all over the place too nothing seemed clear.
For me overall it showed promise just didn't deliver.
Hazel (2934 KP) rated The Stolen Child (Hanlon Series #1) in Books
Jan 21, 2021
Well, crikey, that was a tough but exciting read that I wasn't able to put down despite the content.
I haven't read anything by this author before and missed this first time round when it was published under a different name but I'm so glad I didn't let it pass me by this time because what a treat it is, although it should come with a warning as there are some very unsavoury sections regarding child abuse that will upset people so be warned.
What we have here is a hard-hitting, gritty and dark story that starts at a fairly gentle pace whilst introducing the main characters but then, wow, it ramps up and doesn't stop until the end. The characters are exceptional and so well described that I could clearly see them in my mind.
The main character, DI Hanlon, is driven by her own form of justice and won't shy away from any situation even if it goes against the letter of the law - she will do what it takes to bring those responsible for despicable crimes to justice and she doesn't hold back. She is one tough cookie and I doubt any miscreant out there would want to be on her bad side!
The sense of tension Mr Coombs developed was palpable and the emotions this book evoked were so strong that I actually felt my heart-rate climbing and experiencing real anger and hatred towards some of the characters - not many books do that which, to me, shows the ability of the author to really draw you in and develop people and situations that get under your skin.
Due to the subject matter and the level of violence contained, this won't appeal to everyone however I would certainly recommend it to those who enjoy a less than flowery police procedural that is likely to be more realistic than most other books in the genre.
Many thanks to Boldwood Books and NetGalley for my copy in return for an honest, unbiased and unedited review and for introducing me to yet another excellent British author.
I'm off to read the second in the series now - The Innocent Girl.
I haven't read anything by this author before and missed this first time round when it was published under a different name but I'm so glad I didn't let it pass me by this time because what a treat it is, although it should come with a warning as there are some very unsavoury sections regarding child abuse that will upset people so be warned.
What we have here is a hard-hitting, gritty and dark story that starts at a fairly gentle pace whilst introducing the main characters but then, wow, it ramps up and doesn't stop until the end. The characters are exceptional and so well described that I could clearly see them in my mind.
The main character, DI Hanlon, is driven by her own form of justice and won't shy away from any situation even if it goes against the letter of the law - she will do what it takes to bring those responsible for despicable crimes to justice and she doesn't hold back. She is one tough cookie and I doubt any miscreant out there would want to be on her bad side!
The sense of tension Mr Coombs developed was palpable and the emotions this book evoked were so strong that I actually felt my heart-rate climbing and experiencing real anger and hatred towards some of the characters - not many books do that which, to me, shows the ability of the author to really draw you in and develop people and situations that get under your skin.
Due to the subject matter and the level of violence contained, this won't appeal to everyone however I would certainly recommend it to those who enjoy a less than flowery police procedural that is likely to be more realistic than most other books in the genre.
Many thanks to Boldwood Books and NetGalley for my copy in return for an honest, unbiased and unedited review and for introducing me to yet another excellent British author.
I'm off to read the second in the series now - The Innocent Girl.
LeftSideCut (3776 KP) rated Titans - Season 1 in TV
Sep 26, 2019 (Updated Jan 7, 2020)
A silly good surprise
Contains spoilers, click to show
In a world awash with CW shows based on DC comics (don't get me wrong, I have a small space in my heart for the 'Arrowverse'), who would have thought that a live action series based on Teen Titans would absolutely smash it out of the park!?
When the trailers dropped for Titans, I was intrigued, slightly worried that it would be linked to the sub par DCEU - it's not by the way, and it's also seperate from CW universe, allowing Titans to do its own thing, and do it well.
Titans is both gritty and colourful, both humourous and emotional, and hugely enjoyable.
The main cast are introduced slowly, but it doesn't take long for the group to matter to you.
Brenton Thwaites (Robin), Teegan Croft (Raven), Anna Diop (Starfire), and Ryan Potter (Beast Boy) form the core team and are all extremely likable.
Alan Ritchson and Minka Kelly (Hawk and Dove respectively) drop in from time to time to flesh out the team, and provide some of the series more emotional moments. In fact, one episode is dedicated entirely to their origins and how they met, and it's one of the seasons strong points.
Another great episode early on introduced us to the Doom Patrol (who includes bloody Brendan Fraser!) providing the jump off episode for the Doom Patrol spin off show. This episode is probably the funniest episode in the series.
Elsewhere we are introduced to other DC characters such as Jason Todd, Wonder Girl, Trigon, Superboy, and the Nuclear Family, and it shows that Titans has been able to establish a far reaching universe in the space of 11 episodes.
The season finale is a real treat, which is sort of based in Gotham. We are treated to Batman references galore, given glimpses of his rogues gallery, and absolutely crazy climatic action scene involving the Bat himself.
Titans is drenched in bad language, and moments of nasty violence, flexing itself as an adult show from the get go, and it's a huge strength.
I can't wait to see where it goes in the future!
When the trailers dropped for Titans, I was intrigued, slightly worried that it would be linked to the sub par DCEU - it's not by the way, and it's also seperate from CW universe, allowing Titans to do its own thing, and do it well.
Titans is both gritty and colourful, both humourous and emotional, and hugely enjoyable.
The main cast are introduced slowly, but it doesn't take long for the group to matter to you.
Brenton Thwaites (Robin), Teegan Croft (Raven), Anna Diop (Starfire), and Ryan Potter (Beast Boy) form the core team and are all extremely likable.
Alan Ritchson and Minka Kelly (Hawk and Dove respectively) drop in from time to time to flesh out the team, and provide some of the series more emotional moments. In fact, one episode is dedicated entirely to their origins and how they met, and it's one of the seasons strong points.
Another great episode early on introduced us to the Doom Patrol (who includes bloody Brendan Fraser!) providing the jump off episode for the Doom Patrol spin off show. This episode is probably the funniest episode in the series.
Elsewhere we are introduced to other DC characters such as Jason Todd, Wonder Girl, Trigon, Superboy, and the Nuclear Family, and it shows that Titans has been able to establish a far reaching universe in the space of 11 episodes.
The season finale is a real treat, which is sort of based in Gotham. We are treated to Batman references galore, given glimpses of his rogues gallery, and absolutely crazy climatic action scene involving the Bat himself.
Titans is drenched in bad language, and moments of nasty violence, flexing itself as an adult show from the get go, and it's a huge strength.
I can't wait to see where it goes in the future!
Gareth von Kallenbach (980 KP) rated Patriots Day (2016) in Movies
Jul 12, 2019
There are events in history that are burned into our memories. The attack on Pearl Harbor, JFK assassination, Challenger explosion, Oklahoma City bombing, and 9/11 stand out as moments when their respective generations ask “where were you when?” The same can be said with the Boston Marathon bombing of 2013. In Patriot’s Day we bear witness to the various people involved with the events that unfolded during that week. We are reminded of the tension and fear that the nation experienced as law enforcement tried to find those responsible. The film reopens a wound that has just begun to heal so that we are reminded of the vulnerability that everyone, from every walk of life has to terrorism and acts of violence.
Patriot’s Day stars Mark Wahlberg as a police officer and native Bostonian who is placed on duty for the Boston Marathon. The film is not about him or his personal experience. Rather, the film is more about the myriad of individuals who witness or fall victim to the attack that day. Unlike similar films that deal with the topic of terrorism, the film does not focus on the effect the events have on one or two people. The film is complex and demonstrates the circumstances of the attack, the investigation, the apprehension, and the personal experiences through a variety of voices and faces. The film makes the experience personal and does not depend on sensationalism to sell the story.
The film will captivate those that see it in being able to learn more about the individuals involved or who fell victim. It is also remarkable in its ability to weave the storytelling so that each player has a strong development before their portion of the tale is fully realized. It allows for an appreciation of the individuals involved and demonstrates that they are more than just names in a report. Patriot’s Day is a film that will open wounds for those who witnessed and experienced the events first-hand, but allows for those who have little to no memory of that week to delve deeper into the way that the events played out and truly understand the manner in which the city of Boston went from hurting, to healing, to being strong.
Patriot’s Day stars Mark Wahlberg as a police officer and native Bostonian who is placed on duty for the Boston Marathon. The film is not about him or his personal experience. Rather, the film is more about the myriad of individuals who witness or fall victim to the attack that day. Unlike similar films that deal with the topic of terrorism, the film does not focus on the effect the events have on one or two people. The film is complex and demonstrates the circumstances of the attack, the investigation, the apprehension, and the personal experiences through a variety of voices and faces. The film makes the experience personal and does not depend on sensationalism to sell the story.
The film will captivate those that see it in being able to learn more about the individuals involved or who fell victim. It is also remarkable in its ability to weave the storytelling so that each player has a strong development before their portion of the tale is fully realized. It allows for an appreciation of the individuals involved and demonstrates that they are more than just names in a report. Patriot’s Day is a film that will open wounds for those who witnessed and experienced the events first-hand, but allows for those who have little to no memory of that week to delve deeper into the way that the events played out and truly understand the manner in which the city of Boston went from hurting, to healing, to being strong.
Gareth von Kallenbach (980 KP) rated Hidden Figures (2016) in Movies
Jul 12, 2019
Teaching courses on history and the relevance of film capturing historical periods, people, and themes offers me a little greater perspective when watching historically based films. I think about how much I should criticize the film based on the ways that the truths are stretched in order to placate their audiences so that they don’t feel to uncomfortable with the subject matter. Hidden Figures offers up a chance to expose American audiences to a period and historical figures that helped impact American history and allow successful space flight.
Hidden Figures discusses the contributions of African-American women at NASA — Katherine Johnson (Taraji P. Henson), Dorothy Vaughan (Octavia Spencer) and Mary Jackson (Janelle Monáe). The film is enlightening and allows for audiences to gain a greater understanding of women and women of color in ensuring the success of the American Space program. The film does not exaggerate circumstances to a point where it is difficult to believe. What is difficult to believe for audiences in using this film to look at the past is that we have waited so long to recognize and honor these heroes. Without their contributions, the United States may have never made it to the moon.
The film offers adults and youth audiences an honest look into what these women faced in the forms of racism and sexism. There is no brutality of racism or violence demonstrated, but the spectre of it lingers over the film and reminds the viewer of the hardships that these women faced. They had the minds to carry out their tasks, but they did not have the right gender or color to be taken seriously, at first. The film is empowering and allows for young girls, despite race, to see that science and math are not fields that are not limited to men. Appropriate representation allows for more depth to history and the role that people of different walks, faiths, and nationalities have played in society. Hidden Figures is a timely film that allows for greater representation and may push filmmakers and audiences to discover more hidden figures in history.
Hidden Figures discusses the contributions of African-American women at NASA — Katherine Johnson (Taraji P. Henson), Dorothy Vaughan (Octavia Spencer) and Mary Jackson (Janelle Monáe). The film is enlightening and allows for audiences to gain a greater understanding of women and women of color in ensuring the success of the American Space program. The film does not exaggerate circumstances to a point where it is difficult to believe. What is difficult to believe for audiences in using this film to look at the past is that we have waited so long to recognize and honor these heroes. Without their contributions, the United States may have never made it to the moon.
The film offers adults and youth audiences an honest look into what these women faced in the forms of racism and sexism. There is no brutality of racism or violence demonstrated, but the spectre of it lingers over the film and reminds the viewer of the hardships that these women faced. They had the minds to carry out their tasks, but they did not have the right gender or color to be taken seriously, at first. The film is empowering and allows for young girls, despite race, to see that science and math are not fields that are not limited to men. Appropriate representation allows for more depth to history and the role that people of different walks, faiths, and nationalities have played in society. Hidden Figures is a timely film that allows for greater representation and may push filmmakers and audiences to discover more hidden figures in history.
Johnny Messias (25 KP) rated The Irishman (2019) in Movies
Oct 14, 2019
Al Pacino as Hoffa (6 more)
Joe Pesci is wonderful
De Niro anchors the film
Scorsese on top form
Thelma Schoonmaker’s editing
Steve Zaillian’s script
De Niro and Pacino together
Marty’s marvellous Oldfellas
The Irishman – BFI London Film Festival Review Oct 13th 2019.
An extended cinematic love letter to some of the finest actors of the last 40 years, and to a bygone era of US history, The Irishman is reassuringly brilliant. Like the best Scorsese joints, its business is power brokers, mobsters and underground schemers, but often as a comedy of manners. De Niro anchors the story, yes as mob enforcer but also as a kind of killer Forrest Gump; “connected” to some key milestones in 1960s America; Bay of Pigs, Jimmy Hoffa’s teamsters, RFK, then later the shadow of Nixon. Famously, we see De Niro’s titular character Frank in his 20s, 30s, 40s, right up until the old age home. Scorsese uses computerised de-aging technology to achieve the effect make-up artists might have parlayed. It works well—mostly. What grips you and takes you in is the bravura acting. Al Pacino gives a wonderful performance as Jimmy Hoffa. He goes full “Pacino” with speeches and grandstanding but it is the lilt of this voice (all sing song) in quiet moments that makes this the best we’ve seen from Al in many a year. Joe Pesci as well. He’s kind of the centre of this world, as the mobster who links up De Niro to Pacino’s Hoffa. Pesci speaks quietly and carefully; you sense how much power he has without any of the violence that was trademark in his famous Casino and Goodfellas roles. Over nearly 3.5 hours (never seems long) what you get is a beautifully written, shot, edited and performed drama about loyalty, friendship and a creeping sense of regret. All with the backdrop of this fascinating period: JFK, Union movements, Cuba, Fidel Castro. It lingers long in the memory and it’s one to cherish, since we surely won’t see its like again.
An extended cinematic love letter to some of the finest actors of the last 40 years, and to a bygone era of US history, The Irishman is reassuringly brilliant. Like the best Scorsese joints, its business is power brokers, mobsters and underground schemers, but often as a comedy of manners. De Niro anchors the story, yes as mob enforcer but also as a kind of killer Forrest Gump; “connected” to some key milestones in 1960s America; Bay of Pigs, Jimmy Hoffa’s teamsters, RFK, then later the shadow of Nixon. Famously, we see De Niro’s titular character Frank in his 20s, 30s, 40s, right up until the old age home. Scorsese uses computerised de-aging technology to achieve the effect make-up artists might have parlayed. It works well—mostly. What grips you and takes you in is the bravura acting. Al Pacino gives a wonderful performance as Jimmy Hoffa. He goes full “Pacino” with speeches and grandstanding but it is the lilt of this voice (all sing song) in quiet moments that makes this the best we’ve seen from Al in many a year. Joe Pesci as well. He’s kind of the centre of this world, as the mobster who links up De Niro to Pacino’s Hoffa. Pesci speaks quietly and carefully; you sense how much power he has without any of the violence that was trademark in his famous Casino and Goodfellas roles. Over nearly 3.5 hours (never seems long) what you get is a beautifully written, shot, edited and performed drama about loyalty, friendship and a creeping sense of regret. All with the backdrop of this fascinating period: JFK, Union movements, Cuba, Fidel Castro. It lingers long in the memory and it’s one to cherish, since we surely won’t see its like again.
Sarah (7800 KP) rated Once Upon a Time in Hollywood (2019) in Movies
Aug 20, 2019
All style, too much substance
I'm a big Tarantino fan and I really wanted to like this film, but I'm afraid like The Hateful Eight before it, I just found it far too rambling and long winded.
Don't get me wrong, I get what he was trying to do here with the classic Hollywood era, I just think it has been poorly executed. Instead of going for 'all style, no substance', Tarantino appears to have gone for all style and too much substance. Visually this film looks stunning, the set design and the costumes look amazing. The cast are brilliant, there's some great supporting faces in this and truly marvellous turns from Brad Pitt and Leonardo DiCaprio. Honestly it's these two that kept my attention for the nearly 3 hour run time. The ideas are good and the dialogue is good, the problem is that there's just way too much of it. Every scene has been dragged out way past the point of enjoyment, and there are so many pointless scenes in this that could easily have been cut out without affecting the barely there plot. He could've at least replaced some of these dragged out scenes with more of a main plot, especially as the only thing interesting about this film was the small bits with the Mansons in it.
I'm starting to wonder if Tarantino is becoming a bit complacent. He's known for his dialogue, but this is just too much. Its worrying when a 3 hour film gets interesting 15 minutes towards the end, which is the only time we see any in depth violence. Had this film been cut by at least an hour, it would've actually been very good. It's just a shame it had to ramble on for so long.
I've marked this higher than I probably should, but only because there is a lot to appreciate in this film and some wonderful performances, it just should've been in a much shorter runtime. I havent seen The Hateful Eight since it was on at the cinema as I can't bear to put myself through it again, and I'm afraid to say it's the same for this.
Don't get me wrong, I get what he was trying to do here with the classic Hollywood era, I just think it has been poorly executed. Instead of going for 'all style, no substance', Tarantino appears to have gone for all style and too much substance. Visually this film looks stunning, the set design and the costumes look amazing. The cast are brilliant, there's some great supporting faces in this and truly marvellous turns from Brad Pitt and Leonardo DiCaprio. Honestly it's these two that kept my attention for the nearly 3 hour run time. The ideas are good and the dialogue is good, the problem is that there's just way too much of it. Every scene has been dragged out way past the point of enjoyment, and there are so many pointless scenes in this that could easily have been cut out without affecting the barely there plot. He could've at least replaced some of these dragged out scenes with more of a main plot, especially as the only thing interesting about this film was the small bits with the Mansons in it.
I'm starting to wonder if Tarantino is becoming a bit complacent. He's known for his dialogue, but this is just too much. Its worrying when a 3 hour film gets interesting 15 minutes towards the end, which is the only time we see any in depth violence. Had this film been cut by at least an hour, it would've actually been very good. It's just a shame it had to ramble on for so long.
I've marked this higher than I probably should, but only because there is a lot to appreciate in this film and some wonderful performances, it just should've been in a much shorter runtime. I havent seen The Hateful Eight since it was on at the cinema as I can't bear to put myself through it again, and I'm afraid to say it's the same for this.
Kane & Lynch: Dead Men
9.0
Rate It
Video Game
Kane & Lynch: Dead Men is a violent and chaotic journey of two men - a flawed mercenary and a...
Neuroshima Hex
Games and Entertainment
7.5
Rate It
App
AWARDS: "iOS Game of the Year" Game Shark "Best Card/Board Game - Runner Up" TouchGen PRESS...