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RəX Regent (349 KP) rated Saving Private Ryan (1998) in Movies
Feb 25, 2019 (Updated Feb 25, 2019)
Groundbreaker mired in slop
Contains spoilers, click to show
Regarded as one of the best war films ever made, it certainly qualifies. The opening twenty minutes are still as breathtaking, shocking and disturbing realistic as they were back in 1998. It is hard to imagine that it has now been over twelve years since Saving Private Ryan broke the mold of World War II film making.
Winner of five Academy Awards, including Best Director for Spielberg, Best Cinematography, and Sound, which was astonishing, even by today's standards, it failed to win Best Picture, losing out to Shakespeare In Love. Shakespeare In Love! Don't get me wrong, it's a good film, but easily forgettable compared to Ryan, only proving yet again that if you touch upon the British monarchy you get Oscars.
The film is a fictional account of four brothers, all serving in the U.S. Army, three of which were killed in action on or around the D-Day landings. The fourth, James Ryan played by Matt Damon is somewhere in Europe, and Tom Hanks with his platoon are sent to bring him home, to spare his mother anymore heartache.
Tom Hanks, who was also snubbed at the 1998 Oscars for his perfect performance as Captain Miller, the everyman who was losing himself in the horrors of war, underplayed his role perfectly. He is believable on every level, emotionally, physically and has a sense of subtly with makes him of Hollywood's greats.
The action is visceral, gritty and horrifying. But never played for crass effect. Scenes of soldiers intestines spilling out, limbs flying a sunder and brutal killing left, right and centre are recreated for one purpose. To truly demonstrate the horrors of war, and to change our perceptions of the global conflict which had almost become a joke, a setting for gung- ho action films, where the Yanks reign supreme and single-handedly win the war.
This shows troops crying, hurting and making decisions which should not be made under any moral circumstances, but you understand why, whether you agree or not. There is no doubt that Spielberg is not innocent of making an American film, but it is about as even-handed as you might expect, with the exception of Tora! Tora! Tora! or The Longest Day.
So, the action is first-rate, graphic and perfectly toned to recreate to horror of the last century's greatest and most of destructive conflicts. But that's only half the story.
The other half is the talking, reminiscing and the almost sepia tone is more than a little cloying. The U.S. General's monologues, which seem to consist almost entirely of Lincoln quotations are overly sentimental, erring on the side of sloppy patriotism rather than Jingoism, which is hardly a bad thing but it isn't good either.
The civilian scenes, such as Mrs Ryan, washing a plate as she sees the car drive down to road to inform her of her sons deaths are so sentimental that they jar against the realism of the war scenes. It's not so much contrast as it is as extreme as black and white.
The action is obviously interspersed, as all war films are, with rest stops and moments of talking, pondering etc., but the scenes drag on too long and disrupt the tone of the film. On the other hand, the direction is brilliant when explaining the situations during and around the action, but Spielberg seemed to think that we needed these sloppy and often boring moments, such as The Church, and the outside the cafe in Ramelle, to express the emotional torment of the characters, but I think that these scenes are so boring and pointless that I' can hardly remember them, as my attention drifts off during them! But I do have an understanding of the soldiers, and this was achieved, quite adorably without these scenes.
Overall, this is a film of two halves if ever there was one. The battle scenes and the journey through war-torn France are brilliant, gritty and educational, but the scenes of American sentimentality are in danger of derailing the whole film. Many feel that is the best war film of all time. I do not agree, favouring Black Hawk Down over this, but I would be remiss if I didn't acknowledge that Blank Hawk Down owes a debt to Saving Private Ryan, by opening the door to the gritty war dramas of the naughties and to the style itself.
This film is on of the most important contributions to cinema ever, and has done so much to finally show to true nature of WWII and war in general. But even though I would rate this 10/10 if it was just for the war scenes, the slop just gets in the way and devalues what should have been perfection.
Winner of five Academy Awards, including Best Director for Spielberg, Best Cinematography, and Sound, which was astonishing, even by today's standards, it failed to win Best Picture, losing out to Shakespeare In Love. Shakespeare In Love! Don't get me wrong, it's a good film, but easily forgettable compared to Ryan, only proving yet again that if you touch upon the British monarchy you get Oscars.
The film is a fictional account of four brothers, all serving in the U.S. Army, three of which were killed in action on or around the D-Day landings. The fourth, James Ryan played by Matt Damon is somewhere in Europe, and Tom Hanks with his platoon are sent to bring him home, to spare his mother anymore heartache.
Tom Hanks, who was also snubbed at the 1998 Oscars for his perfect performance as Captain Miller, the everyman who was losing himself in the horrors of war, underplayed his role perfectly. He is believable on every level, emotionally, physically and has a sense of subtly with makes him of Hollywood's greats.
The action is visceral, gritty and horrifying. But never played for crass effect. Scenes of soldiers intestines spilling out, limbs flying a sunder and brutal killing left, right and centre are recreated for one purpose. To truly demonstrate the horrors of war, and to change our perceptions of the global conflict which had almost become a joke, a setting for gung- ho action films, where the Yanks reign supreme and single-handedly win the war.
This shows troops crying, hurting and making decisions which should not be made under any moral circumstances, but you understand why, whether you agree or not. There is no doubt that Spielberg is not innocent of making an American film, but it is about as even-handed as you might expect, with the exception of Tora! Tora! Tora! or The Longest Day.
So, the action is first-rate, graphic and perfectly toned to recreate to horror of the last century's greatest and most of destructive conflicts. But that's only half the story.
The other half is the talking, reminiscing and the almost sepia tone is more than a little cloying. The U.S. General's monologues, which seem to consist almost entirely of Lincoln quotations are overly sentimental, erring on the side of sloppy patriotism rather than Jingoism, which is hardly a bad thing but it isn't good either.
The civilian scenes, such as Mrs Ryan, washing a plate as she sees the car drive down to road to inform her of her sons deaths are so sentimental that they jar against the realism of the war scenes. It's not so much contrast as it is as extreme as black and white.
The action is obviously interspersed, as all war films are, with rest stops and moments of talking, pondering etc., but the scenes drag on too long and disrupt the tone of the film. On the other hand, the direction is brilliant when explaining the situations during and around the action, but Spielberg seemed to think that we needed these sloppy and often boring moments, such as The Church, and the outside the cafe in Ramelle, to express the emotional torment of the characters, but I think that these scenes are so boring and pointless that I' can hardly remember them, as my attention drifts off during them! But I do have an understanding of the soldiers, and this was achieved, quite adorably without these scenes.
Overall, this is a film of two halves if ever there was one. The battle scenes and the journey through war-torn France are brilliant, gritty and educational, but the scenes of American sentimentality are in danger of derailing the whole film. Many feel that is the best war film of all time. I do not agree, favouring Black Hawk Down over this, but I would be remiss if I didn't acknowledge that Blank Hawk Down owes a debt to Saving Private Ryan, by opening the door to the gritty war dramas of the naughties and to the style itself.
This film is on of the most important contributions to cinema ever, and has done so much to finally show to true nature of WWII and war in general. But even though I would rate this 10/10 if it was just for the war scenes, the slop just gets in the way and devalues what should have been perfection.
Kiruji (13 KP) rated X-Men: First Class (2011) in Movies
Jul 18, 2018
I'm not an X-Men fan. I know, it's strange, right? I mean, I'm a comic book fan in general. Iron Man's a dude. I dig the Hulk. I love all things Batman (except when Joel Schumacher tweaked the Batman's Batnipples). I geekgasmed all over my trousers in the lead up to THE DARK KNIGHT and actually watching it at an IMAX was like losing my virginity again. But the X-Men? Kinda leave me cold. Even though, on the face of it, it should be pretty awesome. Mutant humans with the ability to do just about anything you can imagine, fighting each other and various other bad things? Why the hell wouldn't I like that? But I could never get into it. The first X-Men movie, way back in 2000, left me feeling indifferent. It was OK, but nothing special. The second one was worse. The third one just plain awful. WOLVERINE: ORIGINS was quite fun, but then, a hard drinking, smoking, swearing brawler with friendly mutton-chops and blades in his hands was always going to be appealing to me.
And so, it was with a feeling of complete indifference that I flashed my Cineworld Unlimited card at a bored usher and got my ticket and a mixed slushie last week. I only went to see it because my buddy wanted to and, well, we'd missed the start of THE HANGOVER PART II.
So, into the darkened room early for a change. Managed to get prime seats. Mainly because the auditorium was pretty much empty. Something I didn't think was the most fortuitous portent to the movie we were about to watch. On the plus side however, as we were watching a comic book movie, we got the comic book trailer reel... First was THE GREEN LANTERN, which excited me a little (mainly because I have a man crush on Ryan Reynolds). Then came CAPTAIN AMERICA, which excited me a little more (mainly because it looks FREAKIN' AWESOME). Then we got RISE OF THE PLANET OF THE APES, which intrigued me (mainly because James Franco was doing a 'learned man' accent). Presumably because Cineworld were already scraping the comic book movie barrel, they then repeated the APES trailer, which killed the mood and left me feeling indifferent again.
But I digress. I think you get that I didn't really give a crap one way or the other about the movie I was about to watch. The opening scenes however, are set in a WWII concentration camp and I found my interest piqued. At first, I couldn't figure out whether it had been newly filmed or if they were recycling one of the flashbacks from one of the earlier movies. Then, Kevin Bacon. Suddenly, I was transfixed by the German pouring forth from his mouth which seemed authentic and I couldn't quite work out if he was lip-synching or not. That's somewhat besides the point though, as the scene itself was very tense and only marginally spoiled by the child actor when it was his turn to scream the longest NOOOOOOO!!! (sorry, NEEEEEEEEIN!!!) since Adolf Vader in Episode 3.
The film very quickly moved on in leaps and bounds, sucking me in and winning me over. Kevin Bacon seemed to enjoy hamming it up as the evil Sebastian Shaw. James McAvoy is an exceptionally talented chap and made for an excellent Charles Xavier - a cocky, beer-swilling, genius ladies man. Similarly, Michael Fassbender did a top notch job in playing Erik Lehnsherr, coming across as a Holocaust-surviving Bond, maybe even slightly cooler. Even Jason Flemyng was pretty good, although I don't think he actually spoke at all, which might have helped his case.
I loved the whole origins story, seeing how Xavier and Lehnsherr were good friends despite their obvious differences and started the School for the Gifted together was pretty cool. The only little blight on the movie (after the whole NEEEEEEEIN!!! incident) was that when it came time for Fassbender to don Magneto's helmet, the prop department had obviously measured his noggin wrong and it was clearly too tight. I say that because, every time he slapped it on his dome, his accent turned from gruff-hero-of-indeterminate-country-of-origin to... Well, to Oirish. The only reason I can think of is that the helmet was squeezing his bonce a bit too snugly. It didn't happen when Kevin Bacon was wearing it.
Helmet business aside, on the whole, I left feeling like I'd just seen a proper comic book movie. Full of fantastical, incredible things dancing around a plot that made sense and characters that I, on the whole, cared about at least a little. There was even a Wolverine cameo in it, which made me chuckle more than it should have. Far from being indifferent towards the X-Men now, I'm looking forward to seeing where the story goes next. I just hope Matthew Vaughn is directing again. He's turned out an X-Men film that is much, much better than mediocre and they'd be idiots to give it to anyone else.
And so, it was with a feeling of complete indifference that I flashed my Cineworld Unlimited card at a bored usher and got my ticket and a mixed slushie last week. I only went to see it because my buddy wanted to and, well, we'd missed the start of THE HANGOVER PART II.
So, into the darkened room early for a change. Managed to get prime seats. Mainly because the auditorium was pretty much empty. Something I didn't think was the most fortuitous portent to the movie we were about to watch. On the plus side however, as we were watching a comic book movie, we got the comic book trailer reel... First was THE GREEN LANTERN, which excited me a little (mainly because I have a man crush on Ryan Reynolds). Then came CAPTAIN AMERICA, which excited me a little more (mainly because it looks FREAKIN' AWESOME). Then we got RISE OF THE PLANET OF THE APES, which intrigued me (mainly because James Franco was doing a 'learned man' accent). Presumably because Cineworld were already scraping the comic book movie barrel, they then repeated the APES trailer, which killed the mood and left me feeling indifferent again.
But I digress. I think you get that I didn't really give a crap one way or the other about the movie I was about to watch. The opening scenes however, are set in a WWII concentration camp and I found my interest piqued. At first, I couldn't figure out whether it had been newly filmed or if they were recycling one of the flashbacks from one of the earlier movies. Then, Kevin Bacon. Suddenly, I was transfixed by the German pouring forth from his mouth which seemed authentic and I couldn't quite work out if he was lip-synching or not. That's somewhat besides the point though, as the scene itself was very tense and only marginally spoiled by the child actor when it was his turn to scream the longest NOOOOOOO!!! (sorry, NEEEEEEEEIN!!!) since Adolf Vader in Episode 3.
The film very quickly moved on in leaps and bounds, sucking me in and winning me over. Kevin Bacon seemed to enjoy hamming it up as the evil Sebastian Shaw. James McAvoy is an exceptionally talented chap and made for an excellent Charles Xavier - a cocky, beer-swilling, genius ladies man. Similarly, Michael Fassbender did a top notch job in playing Erik Lehnsherr, coming across as a Holocaust-surviving Bond, maybe even slightly cooler. Even Jason Flemyng was pretty good, although I don't think he actually spoke at all, which might have helped his case.
I loved the whole origins story, seeing how Xavier and Lehnsherr were good friends despite their obvious differences and started the School for the Gifted together was pretty cool. The only little blight on the movie (after the whole NEEEEEEEIN!!! incident) was that when it came time for Fassbender to don Magneto's helmet, the prop department had obviously measured his noggin wrong and it was clearly too tight. I say that because, every time he slapped it on his dome, his accent turned from gruff-hero-of-indeterminate-country-of-origin to... Well, to Oirish. The only reason I can think of is that the helmet was squeezing his bonce a bit too snugly. It didn't happen when Kevin Bacon was wearing it.
Helmet business aside, on the whole, I left feeling like I'd just seen a proper comic book movie. Full of fantastical, incredible things dancing around a plot that made sense and characters that I, on the whole, cared about at least a little. There was even a Wolverine cameo in it, which made me chuckle more than it should have. Far from being indifferent towards the X-Men now, I'm looking forward to seeing where the story goes next. I just hope Matthew Vaughn is directing again. He's turned out an X-Men film that is much, much better than mediocre and they'd be idiots to give it to anyone else.
Daniel Boyd (1066 KP) created a post
May 18, 2018 (Updated Jun 12, 2018)
Gareth von Kallenbach (965 KP) rated Indiana Jones and the Kingdom of the Crystal Skull (2008) in Movies
Aug 14, 2019
After 17 years away from the big screen, Indiana Jones has dusted off his trusty fedora and bullwhip in one of the most eagerly awaited returns to the screen in cinema history. Harrison Ford once again plays the rough and rugged archeologist who is as equally adept in the classroom as he is in the depths of an ancient trap laden chamber.
In “Indiana Jones and the Kingdom of the Crystal Skull”, audience are re-introduced to Jones, who is by now an older, and wiser man who spent the years of WWII as a special operative which earned him not only the rank of Colonel, but numerous medals and citations.
The film opens with a group of bad guys forcing Indiana to locate an object from a gigantic storage area in the infamous Area 51. Since Jones was part of a team that examined said object nearly a decade earlier, his services are greatly desired, and he is forced to play along with his captors.
Of course Indiana Jones is still a man of action, and soon turns the tables on his captors in a daring and humor filled action sequence that quickly answers those that doubted Ford could pull off his charismatic character in his 60’s.
The events of the situation do not go unnoticed by the U.S. government who suspect Jones of collaborating with the enemy, and in the Red Scare America of the 1950’s Jones soon finds himself suspended from his teaching position and looking to head overseas.
As Indy’s train heads out of town, he is approached by a motorcycle riding messenger who says his name is Mutt (Shia LaBeouf), and he has been sent to find Indy by a former college of Indy’s Professor Oxle (John Hurt). Intrigued, Jones listens to the tale Mutt tells him that people have kidnapped Oxley and his mother, and he shows him a letter that Oxley instructed him to pass along to Indy should anything happen to him.
Before Indy can dig further into the mystery, he and Mutt are accosted by thugs and after a daring race through traffic on Mutt’s motorcycle, find themselves on a plane to South America in search of Oxley and Mutt’s mother as well as the fabled Crystal Skull that legend says will grant amazing powers to anyone who returns it to the fabled Golden City.
Thinking that his old friend Oxley may have succeeded where Indy was unable to many years earlier, Jones takes up the cause of locating the fabled artifact and the city as he believes that they are also the keys to locating his missing friend. The film really slows down here and devotes a good amount of time to advancing the story and characters and thanks to the amazingly detailed sets and enjoyable characters; you may find yourself not minding the change of pace.
Of course there are plenty of bad guys to add to the mix, including the evil Irinia Spalko (Cate Blanchett), who is leading a team of Russian soldiers who also have designs on the skull, as it would give them the power to read and control the minds of the leaders the world over, amongst other powers that would be used for their aggressive agendas.
What follows is an effects-laden adventure leading to a grand finale that is not as spectacular as past films in the series, but enjoyable nonetheless. When the action comes it is solid, and while some of it seems to be a retread of some of the classic moments of the series, it does deliver enough thrills to keep fans happy. There are some very welcome moments in the film such as a nice tribute to Sean Connery and the Late Denholm Elliot as well as a cleverly placed cameo early in the film during the warehouse fight.
Shia LaBeouf is an interesting addition to the series and his scenes with Ford are very enjoyable. They have a natural chemistry and do not seem forced like the Short Round character from “Indiana Jones and the Temple of Doom”. I was also very happy to see Karen Allen return to the series as Marion Ravenwood. She has truly proven to be the only love interest in the series that truly measures up to Indy, and her fiery temper with a girl next door charm is the perfect foil for Jones.
The effects in the film are not groundbreaking, but solid, however some may find that the films plot is a bit to complex and takes too long to setup. There were funny moments in the film to go along with the action and viewers who pay close attention will catch some very subtle nods to other moments in the series.
I was pleased with the sets in the film as Director Steven Speilberg and Producer George Lucas clearly paid attention to details in the look of the film. The tombs and exotic chambers depicted in the film had a very immersive nature to them much the same way that classic Disneyland rides like Pirates of the Caribbean and The Haunted Mansion place guests right in the middle of the spooky and exotic locales. From cobwebs, skeletons, and insects and well as treasures galore, it was like being in on the adventure with Indy.
The series does have some life in it and while the film does not measure up with the first film in the series, I would say it is on par with “Temple of Doom” and was for me, more enjoyable than “The Last Crusade.” The film leaves the door open for yet another adventure, and if comments from Speilberg and Lucas are to be taken seriously, we may see the beloved archeologist back on the big screen in the not too distant future.
In “Indiana Jones and the Kingdom of the Crystal Skull”, audience are re-introduced to Jones, who is by now an older, and wiser man who spent the years of WWII as a special operative which earned him not only the rank of Colonel, but numerous medals and citations.
The film opens with a group of bad guys forcing Indiana to locate an object from a gigantic storage area in the infamous Area 51. Since Jones was part of a team that examined said object nearly a decade earlier, his services are greatly desired, and he is forced to play along with his captors.
Of course Indiana Jones is still a man of action, and soon turns the tables on his captors in a daring and humor filled action sequence that quickly answers those that doubted Ford could pull off his charismatic character in his 60’s.
The events of the situation do not go unnoticed by the U.S. government who suspect Jones of collaborating with the enemy, and in the Red Scare America of the 1950’s Jones soon finds himself suspended from his teaching position and looking to head overseas.
As Indy’s train heads out of town, he is approached by a motorcycle riding messenger who says his name is Mutt (Shia LaBeouf), and he has been sent to find Indy by a former college of Indy’s Professor Oxle (John Hurt). Intrigued, Jones listens to the tale Mutt tells him that people have kidnapped Oxley and his mother, and he shows him a letter that Oxley instructed him to pass along to Indy should anything happen to him.
Before Indy can dig further into the mystery, he and Mutt are accosted by thugs and after a daring race through traffic on Mutt’s motorcycle, find themselves on a plane to South America in search of Oxley and Mutt’s mother as well as the fabled Crystal Skull that legend says will grant amazing powers to anyone who returns it to the fabled Golden City.
Thinking that his old friend Oxley may have succeeded where Indy was unable to many years earlier, Jones takes up the cause of locating the fabled artifact and the city as he believes that they are also the keys to locating his missing friend. The film really slows down here and devotes a good amount of time to advancing the story and characters and thanks to the amazingly detailed sets and enjoyable characters; you may find yourself not minding the change of pace.
Of course there are plenty of bad guys to add to the mix, including the evil Irinia Spalko (Cate Blanchett), who is leading a team of Russian soldiers who also have designs on the skull, as it would give them the power to read and control the minds of the leaders the world over, amongst other powers that would be used for their aggressive agendas.
What follows is an effects-laden adventure leading to a grand finale that is not as spectacular as past films in the series, but enjoyable nonetheless. When the action comes it is solid, and while some of it seems to be a retread of some of the classic moments of the series, it does deliver enough thrills to keep fans happy. There are some very welcome moments in the film such as a nice tribute to Sean Connery and the Late Denholm Elliot as well as a cleverly placed cameo early in the film during the warehouse fight.
Shia LaBeouf is an interesting addition to the series and his scenes with Ford are very enjoyable. They have a natural chemistry and do not seem forced like the Short Round character from “Indiana Jones and the Temple of Doom”. I was also very happy to see Karen Allen return to the series as Marion Ravenwood. She has truly proven to be the only love interest in the series that truly measures up to Indy, and her fiery temper with a girl next door charm is the perfect foil for Jones.
The effects in the film are not groundbreaking, but solid, however some may find that the films plot is a bit to complex and takes too long to setup. There were funny moments in the film to go along with the action and viewers who pay close attention will catch some very subtle nods to other moments in the series.
I was pleased with the sets in the film as Director Steven Speilberg and Producer George Lucas clearly paid attention to details in the look of the film. The tombs and exotic chambers depicted in the film had a very immersive nature to them much the same way that classic Disneyland rides like Pirates of the Caribbean and The Haunted Mansion place guests right in the middle of the spooky and exotic locales. From cobwebs, skeletons, and insects and well as treasures galore, it was like being in on the adventure with Indy.
The series does have some life in it and while the film does not measure up with the first film in the series, I would say it is on par with “Temple of Doom” and was for me, more enjoyable than “The Last Crusade.” The film leaves the door open for yet another adventure, and if comments from Speilberg and Lucas are to be taken seriously, we may see the beloved archeologist back on the big screen in the not too distant future.
BankofMarquis (1832 KP) rated A League of Their Own (1992) in Movies
May 26, 2020
My Favorite Baseball Movie of All Time
I am a big fan of movies. I am a big fan of baseball. So, inevitably, I get asked what my favorite baseball movie is - and my answer surprises many. Beyond a doubt, my favorite baseball movie is the 1992 comedy A LEAGUE OF THEIR OWN, directed by Penny Marshall and starring Geena Davis and Tom Hanks.
I just rewatched this film (for the umpteenth time) and it still works very, very well.
Set during WWII, A LEAGUE OF THEIR OWN tells the story of the All American Girls Professional Baseball League - set up by owners of Major League baseball as many, many of the male professional baseball players were overseas fighting in the war.
Set up as a sibling rivalry story between star player Dottie Henson (Geena Davis) and her kid sister Kit (Lori Petty) who is always in Dottie's shadow, ALOTO shows the start-up of the league, the initial reluctance of the general public to embrace it and the eventual winning over of those that mocked it by actually playing good, hard-nosed ball.
This indifference (turned to acceptance) of this league is shown through the eyes of alcoholic, former Major League star Jimmy Dugan (a pre-Oscars Tom Hanks). After a strong 1980's in film, the first part of the 1990's was not kind to Hanks (JOE vs. THE VOLCANO tanked and the less that can be said about BONFIRE OF THE VANITIES the better). This film was considered a bit of a "comeback" film for him and he came back very, very well. His Jimmy Dugan is irascible, vulgar and angry but has a good heart that shines through. It was this role that would catapult Hanks into SuperStardom later in this decade (with films like PHILADELPHIA, FOREST GUMP, SAVING PRIVATE RYAN, SLEEPLESS IN SEATTLE, APOLLO 13 and THE GREEN MILE). So, remember, without Jimmy Duggan, their probably would not be a Woody from TOY STORY (at least not a Woody voiced by Hanks).
Geena Davis is strong in the lead role of Dottie. Davis is a natural athlete and a very intelligent individual (she was a semi-finalist for the U.S. Olympic Archery team and is a member of MENSA) and both attributes shine through in her portrayal of Dottie. She is strong, graceful and sure-headed in her approach to her goal - to be the best at what she is currently doing. The pairing of Davis and Hanks is interesting for you see great chemistry between these two characters - 2 characters that are compatriots and, perhaps, friends, but...which is unusual in a film such as this...NOT love interests for each other.
Faring less well in this film is Lori Petty as kid sister Kit who just wants a chance to get out from under her sister's shadow. I don't blame Petty's performance - she does the best she can with the material she is given, but her character is "whiny, pouty and shouty" throughout the film and was just not someone I cared about.
That cannot be said for the strong list of actresses that were cast as members of the Rockford Peaches - the team that Dottie and Kit play for (and that Jimmy Dugan manages). Director Penny Marshall insisted that all of the women cast actually be able to play baseball, so cut many, many good actresses that just couldn't be believed as baseball players. Madonna (of all people) shows a passable ability to play ball - as well as a winning personality as "All the Way" Mae, the team's centerfielder. In her first film role, Rosie O'Donnell almost steals the film as loud Long Island 3b Doris Murphy. Megan Cavanagh (2b Marla Hooch), Tracy Reiner (LF/P Betty "Spaghetti" Horn), Bitty Schram (RF Evelyn Gardner who was the cryer in the "there's no crying in baseball" scene), Ann Cusack (illiterate OF Shirley Baker), Anne Ramsey (1B Helen Haley) and Freddie Simpson (SS/P Ellen Sue Gotlander) all make a believably passable group of ballplayers that you want to spend time with.
Special notice needs to be made to the always dependable David Strathairn (as Ira Lowenstein - the guiding light to this league) and Jon Lovitz (who is the star of the first 1/4 of this film as Scout Ernie Capadino). They both bring needed life to moments of the film when it need it the most.
All of these elements are brought together wonderfully by the smart, thoughtful and emotionally rich direction of Penny Marshall. She was on a bit of a roll in this part of her career, having helmed BIG (1988) and AWAKENINGS (1990 - with Robin Williams and Robert DeNiro) previously. She went "3 for 3" as a Director with this one. She keeps the film moving along smartly, pausing just long enough at times to bring in some emotion and then follows it right up with some gut-busting laughs.
While I am not thrilled by the events of the final game (I think it is a little contrived and one of the principal characters gets a reward they don't deserve) but that is a "nit" on this film, for it is the journey - with characters that are fun to spend some time with - that makes this film works.
Oh...and Marshall also puts in some of the real players from the league in a finale that serves as a well-deserved salute to these womeon
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
I just rewatched this film (for the umpteenth time) and it still works very, very well.
Set during WWII, A LEAGUE OF THEIR OWN tells the story of the All American Girls Professional Baseball League - set up by owners of Major League baseball as many, many of the male professional baseball players were overseas fighting in the war.
Set up as a sibling rivalry story between star player Dottie Henson (Geena Davis) and her kid sister Kit (Lori Petty) who is always in Dottie's shadow, ALOTO shows the start-up of the league, the initial reluctance of the general public to embrace it and the eventual winning over of those that mocked it by actually playing good, hard-nosed ball.
This indifference (turned to acceptance) of this league is shown through the eyes of alcoholic, former Major League star Jimmy Dugan (a pre-Oscars Tom Hanks). After a strong 1980's in film, the first part of the 1990's was not kind to Hanks (JOE vs. THE VOLCANO tanked and the less that can be said about BONFIRE OF THE VANITIES the better). This film was considered a bit of a "comeback" film for him and he came back very, very well. His Jimmy Dugan is irascible, vulgar and angry but has a good heart that shines through. It was this role that would catapult Hanks into SuperStardom later in this decade (with films like PHILADELPHIA, FOREST GUMP, SAVING PRIVATE RYAN, SLEEPLESS IN SEATTLE, APOLLO 13 and THE GREEN MILE). So, remember, without Jimmy Duggan, their probably would not be a Woody from TOY STORY (at least not a Woody voiced by Hanks).
Geena Davis is strong in the lead role of Dottie. Davis is a natural athlete and a very intelligent individual (she was a semi-finalist for the U.S. Olympic Archery team and is a member of MENSA) and both attributes shine through in her portrayal of Dottie. She is strong, graceful and sure-headed in her approach to her goal - to be the best at what she is currently doing. The pairing of Davis and Hanks is interesting for you see great chemistry between these two characters - 2 characters that are compatriots and, perhaps, friends, but...which is unusual in a film such as this...NOT love interests for each other.
Faring less well in this film is Lori Petty as kid sister Kit who just wants a chance to get out from under her sister's shadow. I don't blame Petty's performance - she does the best she can with the material she is given, but her character is "whiny, pouty and shouty" throughout the film and was just not someone I cared about.
That cannot be said for the strong list of actresses that were cast as members of the Rockford Peaches - the team that Dottie and Kit play for (and that Jimmy Dugan manages). Director Penny Marshall insisted that all of the women cast actually be able to play baseball, so cut many, many good actresses that just couldn't be believed as baseball players. Madonna (of all people) shows a passable ability to play ball - as well as a winning personality as "All the Way" Mae, the team's centerfielder. In her first film role, Rosie O'Donnell almost steals the film as loud Long Island 3b Doris Murphy. Megan Cavanagh (2b Marla Hooch), Tracy Reiner (LF/P Betty "Spaghetti" Horn), Bitty Schram (RF Evelyn Gardner who was the cryer in the "there's no crying in baseball" scene), Ann Cusack (illiterate OF Shirley Baker), Anne Ramsey (1B Helen Haley) and Freddie Simpson (SS/P Ellen Sue Gotlander) all make a believably passable group of ballplayers that you want to spend time with.
Special notice needs to be made to the always dependable David Strathairn (as Ira Lowenstein - the guiding light to this league) and Jon Lovitz (who is the star of the first 1/4 of this film as Scout Ernie Capadino). They both bring needed life to moments of the film when it need it the most.
All of these elements are brought together wonderfully by the smart, thoughtful and emotionally rich direction of Penny Marshall. She was on a bit of a roll in this part of her career, having helmed BIG (1988) and AWAKENINGS (1990 - with Robin Williams and Robert DeNiro) previously. She went "3 for 3" as a Director with this one. She keeps the film moving along smartly, pausing just long enough at times to bring in some emotion and then follows it right up with some gut-busting laughs.
While I am not thrilled by the events of the final game (I think it is a little contrived and one of the principal characters gets a reward they don't deserve) but that is a "nit" on this film, for it is the journey - with characters that are fun to spend some time with - that makes this film works.
Oh...and Marshall also puts in some of the real players from the league in a finale that serves as a well-deserved salute to these womeon
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Hadley (567 KP) rated Stranger Things: Suspicious Minds in Books
Jun 10, 2019
The first novel adapted from the Netflix series hit 'Stranger Things' is an astonishing work of art. Viewers of the show may be familiar with Eleven's mother, Terry Ives, which this book surrounds. Along for the ride are a few important characters that weren't mentioned in the series: Alice, Gloria and Ken - a self proclaimed psychic - all of which meet because they signed up for a human experiment at Hawkins National Laboratory, where each are given doses of LSD every week. This quickly tells readers that the book is not recommended for anyone under the age of 14.
Although the series has more than one book, and no end in sight, Bond was only chosen to do this novel. 'Suspicious Minds' is categorized under Young Adult books, but with the heavy Vietnam content, it's not considered that many young adults today can actually relate with this story or even understand the devastating effects of a looming draft hanging over the heads of young men throughout America in the 1960's. But Bond does a wonderful job in relating the emotional state of this era through our main character, Terry. Another subject that Bond does a fantastic job of explaining in 'Suspicious Minds' is the taboo of being a pregnant, unwed mother in this era, something that seems to be making headlines again in the States nearly 60 years later.
Bond shows us a young Dr. Martin Brenner, with neatly styled brown hair and an almost unlined face, as well as a more lively Terry Ives (which only season 2 has shown a very short flashback sequence of Terry being mobile before her dreaded consequence from being associated with the human experiments). We find out that the reason Terry volunteered for the experiment is due to her father's service in WWII, and wanting to make the world a better place. Bond brings in the other important characters, who also volunteered for the experiments, quickly bonding the four as friends for life.
As far as characters go, these four are written very well. Although Terry is the main character of 'Suspicious Minds,' we get to see from the viewpoints of all people, including Brenner. Bond gives the reader a short background on what LSD is and where it came from when the time comes for the experiments to begin. Brenner doesn't really explain why he gives LSD to the volunteers, but only that it is part of a secret experiment. Even when Terry is placed in a sensory deprivation tank, he doesn't reveal anything to her, and Bond does a great job of keeping the characters enough in the grey area of knowing that it's believable. Even at one point, when Terry begins to suspect something strange from the experiments, she keeps the belief that whatever is going on at Hawkins Laboratory must be important: " 'But you can't see it's important?' Terry leaned in close, and they kept their voices down as other students walked past. 'They just called up the school and told them to give me Thursdays off and I'm getting credit for it? They're tying our grades to doing this. And no one asked any questions. They just agreed. I have to keep going.' " Bond eloquently keeps the mystery going.
This mystery is even interesting to those who know what happens in the end. In 'Stranger Things,' Terry is introduced as a comatose woman in a rocking chair- who happens to be Eleven's mother. We have never met Gloria, Alice or Ken. The three become very close to Terry, and they all somehow escape from Brenner's grasp, but they also end up joining in Terry's pursuit of getting Eleven/Jane back to her mother. Fans of the show might be left asking what happened to these three enjoyable characters? I haven't seen any plans for a part two of this story, so we may be left not knowing what happened or if the three are even still alive today (in the Stranger Things' era). Even more enjoyable is the random use of J.R.R. Tolkien's 'The Lord of the Rings,' where in one scene, Alice and Terry decide to name their small group 'The Fellowship of the Lab.' Any veteran reader will be happy to see a classic brought up in a newer book of today.
And also of interest, fans will recognize a little girl who is frequent throughout the story: Eight a.k.a. Kali. We never get to see through Kali's perspective, but the reader does get to see the multitude of her abilities. For instance, Kali is able to scare personnel in the lab by causing the hallucination of tidal waves inside the building, only to stop when Brenner (or Papa to her) gives her her favorite sweet: Hostess cakes. Other than that, Kali is like any child; she throws tantrums and rebels from her Papa, sometimes to the laughter of the reader.
One point, Terry even meets with Kali in her LSD induced state: " Terry shook her head. 'There can be. He's just a man. He can't know everything.' She paused. 'Does he hurt you? Papa?' Kali frowned, but she didn't answer. 'If he does... I can help you.' Terry had to make her understand. The little girl shook her head. 'I don't think so. I might be able to help you, though.' A field of yellow sunflowers grew up around them. A rainbow arcing over the golden tops." Terry, understandably, begins to scheme about how they can help Kali to escape the lab.
Bond does a great job of transitioning between Terry's point of view to the other characters' viewpoints. We get a young woman named Gloria, who has a secret obsession with comic books (especially X-Men). A hippie-looking man named Ken, who claims he is psychic, but just happens to have a lot of hunches that come true. And last, but not least, another young woman named Alice, who shows up in grease covered overalls and curly black hair, explaining that she works for her uncle's garage and that she loves machines. These three are delightful to read about, and the story would be boring without them.
This book was the perfect novel to answer questions fans may have had about Eleven's mother. Bond writes smoothly and easily enough that you may find yourself wanting to read just one more page before setting the book down for the evening. She drags you into the world of the 1960's and helps young readers to feel the emotional time that it was for women like Terry. But with only a few inconsistencies here and there, 'Suspicious Minds' leaves us wanting more. If you are a fan of 'Stranger Things,' I say that this is a must-read! Highly recommend!
Although the series has more than one book, and no end in sight, Bond was only chosen to do this novel. 'Suspicious Minds' is categorized under Young Adult books, but with the heavy Vietnam content, it's not considered that many young adults today can actually relate with this story or even understand the devastating effects of a looming draft hanging over the heads of young men throughout America in the 1960's. But Bond does a wonderful job in relating the emotional state of this era through our main character, Terry. Another subject that Bond does a fantastic job of explaining in 'Suspicious Minds' is the taboo of being a pregnant, unwed mother in this era, something that seems to be making headlines again in the States nearly 60 years later.
Bond shows us a young Dr. Martin Brenner, with neatly styled brown hair and an almost unlined face, as well as a more lively Terry Ives (which only season 2 has shown a very short flashback sequence of Terry being mobile before her dreaded consequence from being associated with the human experiments). We find out that the reason Terry volunteered for the experiment is due to her father's service in WWII, and wanting to make the world a better place. Bond brings in the other important characters, who also volunteered for the experiments, quickly bonding the four as friends for life.
As far as characters go, these four are written very well. Although Terry is the main character of 'Suspicious Minds,' we get to see from the viewpoints of all people, including Brenner. Bond gives the reader a short background on what LSD is and where it came from when the time comes for the experiments to begin. Brenner doesn't really explain why he gives LSD to the volunteers, but only that it is part of a secret experiment. Even when Terry is placed in a sensory deprivation tank, he doesn't reveal anything to her, and Bond does a great job of keeping the characters enough in the grey area of knowing that it's believable. Even at one point, when Terry begins to suspect something strange from the experiments, she keeps the belief that whatever is going on at Hawkins Laboratory must be important: " 'But you can't see it's important?' Terry leaned in close, and they kept their voices down as other students walked past. 'They just called up the school and told them to give me Thursdays off and I'm getting credit for it? They're tying our grades to doing this. And no one asked any questions. They just agreed. I have to keep going.' " Bond eloquently keeps the mystery going.
This mystery is even interesting to those who know what happens in the end. In 'Stranger Things,' Terry is introduced as a comatose woman in a rocking chair- who happens to be Eleven's mother. We have never met Gloria, Alice or Ken. The three become very close to Terry, and they all somehow escape from Brenner's grasp, but they also end up joining in Terry's pursuit of getting Eleven/Jane back to her mother. Fans of the show might be left asking what happened to these three enjoyable characters? I haven't seen any plans for a part two of this story, so we may be left not knowing what happened or if the three are even still alive today (in the Stranger Things' era). Even more enjoyable is the random use of J.R.R. Tolkien's 'The Lord of the Rings,' where in one scene, Alice and Terry decide to name their small group 'The Fellowship of the Lab.' Any veteran reader will be happy to see a classic brought up in a newer book of today.
And also of interest, fans will recognize a little girl who is frequent throughout the story: Eight a.k.a. Kali. We never get to see through Kali's perspective, but the reader does get to see the multitude of her abilities. For instance, Kali is able to scare personnel in the lab by causing the hallucination of tidal waves inside the building, only to stop when Brenner (or Papa to her) gives her her favorite sweet: Hostess cakes. Other than that, Kali is like any child; she throws tantrums and rebels from her Papa, sometimes to the laughter of the reader.
One point, Terry even meets with Kali in her LSD induced state: " Terry shook her head. 'There can be. He's just a man. He can't know everything.' She paused. 'Does he hurt you? Papa?' Kali frowned, but she didn't answer. 'If he does... I can help you.' Terry had to make her understand. The little girl shook her head. 'I don't think so. I might be able to help you, though.' A field of yellow sunflowers grew up around them. A rainbow arcing over the golden tops." Terry, understandably, begins to scheme about how they can help Kali to escape the lab.
Bond does a great job of transitioning between Terry's point of view to the other characters' viewpoints. We get a young woman named Gloria, who has a secret obsession with comic books (especially X-Men). A hippie-looking man named Ken, who claims he is psychic, but just happens to have a lot of hunches that come true. And last, but not least, another young woman named Alice, who shows up in grease covered overalls and curly black hair, explaining that she works for her uncle's garage and that she loves machines. These three are delightful to read about, and the story would be boring without them.
This book was the perfect novel to answer questions fans may have had about Eleven's mother. Bond writes smoothly and easily enough that you may find yourself wanting to read just one more page before setting the book down for the evening. She drags you into the world of the 1960's and helps young readers to feel the emotional time that it was for women like Terry. But with only a few inconsistencies here and there, 'Suspicious Minds' leaves us wanting more. If you are a fan of 'Stranger Things,' I say that this is a must-read! Highly recommend!
Daniel Boyd (1066 KP) rated Fantastic Beasts and Where to Find Them (2016) in Movies
Jul 19, 2017
Some of the lighting is well implemented (1 more)
Colin Farrell
Bad CGI (2 more)
The movies 3 leads are extremely annoying
Johnny 'oooh' Depp
Fantastic Beasts and Where To Find Them - Or JK Rowling and the Never Ending Quest for More Money
Contains spoilers, click to show
First off, full disclosure, I have never been a fan of the Harry Potter franchise. I’ve read a few of the books and seen a few of the movies and it just isn’t my thing. Honestly, I’m not even a fan of fantasy in general, I think Lord Of The Rings is nonsense and Game Of Thrones is vastly overrated and the last Harry Potter movie I saw was the fourth one. However, I was willing to go into this movie with a clean slate and hopefully have it win me over and unfortunately it didn’t. Also this review will contain spoilers if you care about that sort of thing.
This film is a prequel to the other Harry Potter movies, this time set in America rather than Britain and telling the story of the events that led to the great wizarding war between Dumbledore and Grindlewald. The film did have potential, to see what would have essentially been WWII fought with magic could be really cool but unfortunately all we get here is setup and that actual event we want to see will probably take place 4 or 5 movies down the line. The film opens with Eddie Redmayne’s character, Newt Scamander going to New York from London to set free one of the beasts that he keeps inside his Tardis-like brief case. Then he ends up in a bank and meets a ‘Nomaj,’ which is this film’s lazy version of a ‘muggle,’ who we learn is a simple lonely guy that just wants to open his own bakery and that’s another character cliché ticked off the list. We now have the double act of the nerdy, sniveling protagonist and the overweight sympathetic sidekick. Also, for the rest of this review I will be referring to the baker character as fat bloke and this isn’t to be derogatory, but is purely because the script relies on the, ‘fat, jolly, sympathetic, pathetic loner’ stereotype and passes it off as a character arc. If the script isn’t treating the character with any respect, then why should I? So fat bloke it is then.
So the two of them of course have the exact same briefcase and after some cartoony looking CGI animals escape from Redmayne’s case in the bank the suitcases predictably get mixed up and then the fat bloke gets his bakery loan declined and returns home with Redmayne’s suitcase, then more bad CGI animals open the case and attack the fat bloke. Redmayne’s character then gets arrested by some wizarding inspector for letting the, ‘Nomaj,’ (urgh) get away after seeing the animals in the case and is taken to the New York Wizards base, I guess? Then it’s revealed that the wizarding inspector that arrested Redmayne is a bit of a shit inspector and she is trying to redeem herself in the eyes of her superiors, so in front of this high wizard council, she confiscates the case from Redmayne and opens it only to reveal a bunch of cakes inside. Yes, really… Who writes this shit? Rowling is doing to Harry Potter what Lucas did to Star Wars during the prequels at this point.
So Redmayne gets set free and he goes to fat bloke’s house to find him lying on the floor, then some more bad CGI later the inspector turns up and they take him back to her house to meet her sister? Friend? Does it matter? She ends up becoming the love interest for fat bloke. Then for no apparent reason Redmayne and fat bloke enter the case and he shows fat bloke all this crazy shit that apparently humans aren’t supposed to see and then Redmayne does some more sniveling and decides they have to sneak out of the girls’ apartment and recapture the animals that escaped in the bank and from fat bloke’s apartment. They get a couple of the beasts back then they go to central park to find Redmayne’s horny rhino and they dress fat bloke up in a leather rhino costume and use him as rape bait then they ice skate for a bit and capture the rhino. Again, really… I am not making this shit up for satirical reasons.
Then we see a real life prick Ezra Miller playing some sort of weird emo child who is beat by his mother and we see he is working with Colin Farrell to find a big bad dark spirit that is killing people around New York. Colin Farrell is definitely the best thing about the film at this point. After this a bunch of other stupid shit happens, like Ron Perlman and John Voight coming into the movie, showing a ray of potential then being totally wasted. The movie drags in the middle, but eventually after some more fat jokes, bad CGI and sniveling, all of the creatures are captured and Ezra Miller turns into a black death cloud or some such nonsense. Then he is boosting around New York, fucking up shit as he goes and so Redmayne and Farrell follow him down to the subway to stop him. Redmayne seems to be talking him down and then Farrell shows up and essentially tells him to join the dark side. Then there is a CGI wand battle and the council from earlier show up out of nowhere and kill the black cloud of death. Then Colin Farrell gets pissed off and in the best scene in the movie murders half of the council members before he gets arrested by Eddie Redmayne with some magic handcuffs.
Then the worst part in the movie takes place. It is revealed that Colin Farrell is actually Johnny Depp in disguise. I mean he is Grindlewald in disguise but the important part for me is the replacement of Colin Farrell with Johnny Depp. Now I’m not the world’s biggest Colin Farrell fan, he is great in, ‘In Bruges,’ but other than that he is pretty meh, but he was definitely the best thing that this movie had going for it and they fucking swapped him out! With fucking Johnny-‘ooh’-Depp. As if this movie wasn’t shit enough they swapped out the best thing about it for Johnny Depp, the biggest joke in Hollywood. I’m done, fuck this movie, fuck Johnny Depp, fuck JK Rowling, fuck Harry Potter, I’m out.
Okay, let’s briefly talk about the technical side of the film before I score this thing. The whole cast of this movie is phoning it in, so the acting is fine but nothing to write home about, Farrell is the best thing in this movie, but I feel that in the sequels it will just be an ‘ooh,’ off between Depp and Redmayne. The direction is okay as the movie plods along sufficiently, but the writing is wildly inconsistent and the plot as stated above is all over the place. The lighting and cinematography in one scene are fantastic, when Farrell and Miller are conversing in a dark alleyway but other than that they are pretty mundane too. The score is suitably Harry Potter like and the CGI is also to a similar standard of the Harry Potter films. The problem with that is that the CGI was ropey and of a fairly poor standard in the Harry Potter movies 10 years ago and it doesn’t seem like it has improved much since then. This movie isn’t for me, but even from an objective standpoint, based solely from a moviemaking perspective this movie is poor.
This film is a prequel to the other Harry Potter movies, this time set in America rather than Britain and telling the story of the events that led to the great wizarding war between Dumbledore and Grindlewald. The film did have potential, to see what would have essentially been WWII fought with magic could be really cool but unfortunately all we get here is setup and that actual event we want to see will probably take place 4 or 5 movies down the line. The film opens with Eddie Redmayne’s character, Newt Scamander going to New York from London to set free one of the beasts that he keeps inside his Tardis-like brief case. Then he ends up in a bank and meets a ‘Nomaj,’ which is this film’s lazy version of a ‘muggle,’ who we learn is a simple lonely guy that just wants to open his own bakery and that’s another character cliché ticked off the list. We now have the double act of the nerdy, sniveling protagonist and the overweight sympathetic sidekick. Also, for the rest of this review I will be referring to the baker character as fat bloke and this isn’t to be derogatory, but is purely because the script relies on the, ‘fat, jolly, sympathetic, pathetic loner’ stereotype and passes it off as a character arc. If the script isn’t treating the character with any respect, then why should I? So fat bloke it is then.
So the two of them of course have the exact same briefcase and after some cartoony looking CGI animals escape from Redmayne’s case in the bank the suitcases predictably get mixed up and then the fat bloke gets his bakery loan declined and returns home with Redmayne’s suitcase, then more bad CGI animals open the case and attack the fat bloke. Redmayne’s character then gets arrested by some wizarding inspector for letting the, ‘Nomaj,’ (urgh) get away after seeing the animals in the case and is taken to the New York Wizards base, I guess? Then it’s revealed that the wizarding inspector that arrested Redmayne is a bit of a shit inspector and she is trying to redeem herself in the eyes of her superiors, so in front of this high wizard council, she confiscates the case from Redmayne and opens it only to reveal a bunch of cakes inside. Yes, really… Who writes this shit? Rowling is doing to Harry Potter what Lucas did to Star Wars during the prequels at this point.
So Redmayne gets set free and he goes to fat bloke’s house to find him lying on the floor, then some more bad CGI later the inspector turns up and they take him back to her house to meet her sister? Friend? Does it matter? She ends up becoming the love interest for fat bloke. Then for no apparent reason Redmayne and fat bloke enter the case and he shows fat bloke all this crazy shit that apparently humans aren’t supposed to see and then Redmayne does some more sniveling and decides they have to sneak out of the girls’ apartment and recapture the animals that escaped in the bank and from fat bloke’s apartment. They get a couple of the beasts back then they go to central park to find Redmayne’s horny rhino and they dress fat bloke up in a leather rhino costume and use him as rape bait then they ice skate for a bit and capture the rhino. Again, really… I am not making this shit up for satirical reasons.
Then we see a real life prick Ezra Miller playing some sort of weird emo child who is beat by his mother and we see he is working with Colin Farrell to find a big bad dark spirit that is killing people around New York. Colin Farrell is definitely the best thing about the film at this point. After this a bunch of other stupid shit happens, like Ron Perlman and John Voight coming into the movie, showing a ray of potential then being totally wasted. The movie drags in the middle, but eventually after some more fat jokes, bad CGI and sniveling, all of the creatures are captured and Ezra Miller turns into a black death cloud or some such nonsense. Then he is boosting around New York, fucking up shit as he goes and so Redmayne and Farrell follow him down to the subway to stop him. Redmayne seems to be talking him down and then Farrell shows up and essentially tells him to join the dark side. Then there is a CGI wand battle and the council from earlier show up out of nowhere and kill the black cloud of death. Then Colin Farrell gets pissed off and in the best scene in the movie murders half of the council members before he gets arrested by Eddie Redmayne with some magic handcuffs.
Then the worst part in the movie takes place. It is revealed that Colin Farrell is actually Johnny Depp in disguise. I mean he is Grindlewald in disguise but the important part for me is the replacement of Colin Farrell with Johnny Depp. Now I’m not the world’s biggest Colin Farrell fan, he is great in, ‘In Bruges,’ but other than that he is pretty meh, but he was definitely the best thing that this movie had going for it and they fucking swapped him out! With fucking Johnny-‘ooh’-Depp. As if this movie wasn’t shit enough they swapped out the best thing about it for Johnny Depp, the biggest joke in Hollywood. I’m done, fuck this movie, fuck Johnny Depp, fuck JK Rowling, fuck Harry Potter, I’m out.
Okay, let’s briefly talk about the technical side of the film before I score this thing. The whole cast of this movie is phoning it in, so the acting is fine but nothing to write home about, Farrell is the best thing in this movie, but I feel that in the sequels it will just be an ‘ooh,’ off between Depp and Redmayne. The direction is okay as the movie plods along sufficiently, but the writing is wildly inconsistent and the plot as stated above is all over the place. The lighting and cinematography in one scene are fantastic, when Farrell and Miller are conversing in a dark alleyway but other than that they are pretty mundane too. The score is suitably Harry Potter like and the CGI is also to a similar standard of the Harry Potter films. The problem with that is that the CGI was ropey and of a fairly poor standard in the Harry Potter movies 10 years ago and it doesn’t seem like it has improved much since then. This movie isn’t for me, but even from an objective standpoint, based solely from a moviemaking perspective this movie is poor.