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grigori77 · 4 years

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2020 in Movies - My Top 30 Fave Movies (Part 2)

20. ONWARD – Disney and Pixar’s best digitally animated family feature of 2020 (beating the admittedly impressive Soul to the punch) clearly has a love of fantasy roleplay games like Dungeons & Dragons, its quirky modern-day AU take populated by fantastical races and creatures seemingly tailor-made for the geek crowd … needless to say, me and many of my friends absolutely loved it. That doesn’t mean that the classic Disney ideals of love, family and believing in yourself have been side-lined in favour of fan-service – this is as heartfelt, affecting and tearful as their previous standouts, albeit with plenty of literal magic added to the metaphorical kind. The central premise is a clever one – once upon a time, magic was commonplace, but over the years technology came along to make life easier, so that in the present day the various races (elves, centaurs, fauns, pixies, goblins and trolls among others) get along fine without it. Then timid elf Ian Lightfoot (Tom Holland) receives a wizard’s staff for his sixteenth birthday, a bequeathed gift from his father, who died before he was born, with instructions for a spell that could bring him back to life for one whole day. Encouraged by his brash, over-confident wannabe adventurer elder brother Barley (Chris Pratt), Ian tries it out, only for the spell to backfire, leaving them with the animated bottom half of their father and just 24 hours to find a means to restore the rest of him before time runs out. Cue an “epic quest” … needless to say, this is another top-notch offering from the original masters of the craft, a fun, affecting and thoroughly infectious family-friendly romp with a winning sense of humour and inspired, flawless world-building. Holland and Pratt are both fantastic, their instantly believable, ill-at-ease little/big brother chemistry effortlessly driving the story through its ingenious paces, and the ensuing emotional fireworks are hilarious and heart-breaking in equal measure, while there’s typically excellent support from Julia Louis-Dreyfus (Elaine from Seinfeld) as Ian and Barley’s put-upon but supportive mum, Laurel, Octavia Spencer as once-mighty adventurer-turned-restaurateur “Corey” the Manticore and Mel Rodriguez (Getting On, The Last Man On Earth) as overbearing centaur cop (and Laurel’s new boyfriend) Colt Bronco. The film marks the sophomore feature gig for Dan Scanlon, who debuted with 2013’s sequel Monsters University, and while that was enjoyable enough I ultimately found it non-essential – no such verdict can be levelled against THIS film, the writer-director delivering magnificently in all categories, while the animation team have outdone themselves in every scene, from the exquisite environments and character/creature designs to some fantastic (and frequently delightfully bonkers) set-pieces, while there’s a veritable riot of brilliant RPG in-jokes to delight geekier viewers (gelatinous cube! XD). Massive, unadulterated fun, frequently hilarious and absolutely BURSTING with Disney’s trademark heart, this was ALMOST my animated feature of the year. More on that later …

19. THE GENTLEMEN – Guy Ritchie’s been having a rough time with his last few movies (The Man From UNCLE didn’t do too bad but it wasn’t exactly a hit and was largely overlooked or simply ignored, while intended franchise-starter King Arthur: Legend of the Sword was largely derided and suffered badly on release, dying a quick death financially – it’s a shame on both counts, because I really liked them), so it’s nice to see him having some proper success with his latest, even if he has basically reverted to type to do it. Still, when his newest London gangster flick is THIS GOOD it seems churlish to quibble – this really is what he does best, bringing together a collection of colourful geezers and shaking up their status quo, then standing back and letting us enjoy the bloody, expletive-riddled results. This particularly motley crew is another winning selection, led by Matthew McConaughey as ruthlessly successful cannabis baron Mickey Pearson, who’s looking to retire from the game by selling off his massive and highly lucrative enterprise for a most tidy sum (some $400,000,000 to be precise) to up-and-coming fellow American ex-pat Matthew Berger (Succession’s Jeremy Strong, oozing sleazy charm), only for local Chinese triad Dry Eye (Crazy Rich Asians’ Henry Golding, chewing the scenery with enthusiasm) to start throwing spanners into the works with the intention of nabbing the deal for himself for a significant discount. Needless to say Mickey’s not about to let that happen … McConaughey is ON FIRE here, the best he’s been since Dallas Buyers Club in my opinion, clearly having great fun sinking his teeth into this rich character and Ritchie’s typically sparkling, razor-witted dialogue, and he’s ably supported by a quality ensemble cast, particularly co-star Charlie Hunnam as Mickey’s ice-cold, steel-nerved right-hand-man Raymond Smith, Downton Abbey’s Michelle Dockery as his classy, strong-willed wife Rosalind, Colin Farrell as a wise-cracking, quietly exasperated MMA trainer and small-time hood simply known as the Coach (who gets many of the film’s best lines), and, most notably, Hugh Grant as the film’s nominal narrator, thoroughly morally bankrupt private investigator Fletcher, who consistently steals the film. This is Guy Ritchie at his very best – a twisty rug-puller of a plot that constantly leaves you guessing, brilliantly observed and richly drawn characters you can’t help loving in spite of the fact there’s not a single hero among them, a deliciously unapologetic, politically incorrect sense of humour and a killer soundtrack. Getting the cinematic year off to a phenomenal start, it’s EASILY Ritchie’s best film since Sherlock Holmes, and a strong call-back to the heady days of Snatch (STILL my favourite) and Lock, Stock & Two Smoking Barrels. Here’s hoping he’s on a roll again, eh?

18. SPONTANEOUS – one of the year’s biggest under-the-radar surprise hits for me was one which I actually might not have caught if things had been a little more normal and ordered. Thankfully with all the lockdown and cinematic shutdown bollocks going on, this fantastically subversive and deeply satirical indie teen comedy horror came along at the perfect time, and I completely flipped out over it. Now those who know me know I don’t tend to gravitate towards teen cinema, but like all those other exceptions I’ve loved over the years, this one had a brilliantly compulsive hook I just couldn’t turn down – small-town high-schooler Mara (Knives Out and Netflix’ Cursed’s Katherine Langford) is your typical cool outsider kid, smart, snarky and just putting up with the scene until she can graduate and get as far away as possible … until one day in her senior year one of her classmates just inexplicably explodes. Like her peers, she’s shocked and she mourns, then starts to move on … until it happens again. As the death toll among the senior class begins to mount, it becomes clear something weird is going on, but Mara has other things on her mind because the crisis has, for her, had an unexpected benefit – without it she wouldn’t have fallen in love with like-minded oddball new kid Dylan (Lean On Pete and Words On Bathroom Walls’ Charlie Plummer). The future’s looking bright, but only if they can both live to see it … this is a wickedly intelligent film, powered by a skilfully executed script and a wonderfully likeable young cast who consistently steer their characters around the potential cliched pitfalls of this kind of cinema, while debuting writer-director Brian Duffield (already a rising star thanks to scripts for Underwater, The Babysitter and blacklist darling Jane Got a Gun among others) show he’s got as much talent and flair for crafting truly inspired cinema as he has for thinking it up in the first place, delivering some impressively offbeat set-pieces and several neat twists you frequently don’t see coming ahead of time. Langford and Plummer as a sassy, spicy pair who are easy to root for without ever getting cloying or sweet, while there’s glowing support from the likes of Hayley Law (Rioverdale, Altered Carbon, The New Romantic) as Mara’s best friend Tess, Piper Perabo and Transparent’s Rob Huebel as her increasingly concerned parents, and Insecure’s Yvonne Orji as Agent Rosetti, the beleaguered government employee sent to spearhead the investigation into exactly what’s happening to these kids. Quirky, offbeat and endlessly inventive, this is one of those interesting instances where I’m glad they pushed the horror elements into the background so we could concentrate on the comedy, but more importantly these wonderfully well-realised and vital characters – there are some skilfully executed shocks, but far more deep belly laughs, and there’s bucketloads of heart to eclipse the gore. Another winning debut from a talent I intend to watch with great interest in the future.

17. HAMILTON – arriving just as Black Lives Matter reached fever-pitch levels, this feature presentation of the runaway Broadway musical smash-hit could not have been better timed. Shot over three nights during the show’s 2016 run with the original cast and cut together with specially created “setup shots”, it’s an immersive experience that at once puts you right in amongst the audience (at times almost a character themselves, never seen but DEFINITELY heard) but also lets you experience the action up close. And what action – it’s an incredible show, a thoroughly fascinating piece of work that reads like something very staid and proper on paper (an all-encompassing biographical account of the life and times of American Founding Father Alexander Hamilton) but, in execution, becomes something very different and EXTREMELY vital. The execution certainly couldn’t be further from the usual period biopic fare this kind of historical subject matter usually gets (although in the face of recent high quality revisionist takes like Marie Antoinette, The Great and Tesla it’s not SO surprising), while the cast is not at all what you’d expect – with very few notable exceptions the cast is almost entirely people of colour, despite the fact that the real life individuals they’re playing were all very white indeed. Every single one of them is also an absolute revelation – the show’s writer-composer Lin-Manuel Miranda (already riding high on the success of In the Heights) carries the central role of Hamilton with effortless charm and raw star power, Leslie Odom Jr. (Smash, Murder On the Orient Express) is duplicitously complex as his constant nemesis Aaron Burr, Christopher Jackson (In the Heights, Moana, Bull) oozes integrity and nobility as his mentor and friend George Washington, Phillipa Soo is sweet and classy as his wife Eliza while Renée Elise Goldsberry (The Immortal Life of Henrietta Jacks, Altered Carbon) is fiery and statuesque as her sister Angelica Schuyler (the one who got away), and Jonathan Groff (Mindhunter) consistently steals every scene he’s in as fiendish yet childish fan favourite King George III, but the show (and the film) ultimately belongs to veritable powerhouse Daveed Diggs (Blindspotting, The Good Lord Bird) in a spectacular duel role, starting subtly but gaining scene-stealing momentum as French Revolutionary Gilbert du Motier, the Marquis de Lafayette, before EXPLODING onto the stage in the second half as indomitable third American President Thomas Jefferson. Not having seen the stage show, I was taken completely by surprise by this, revelling in its revisionist genius and offbeat, quirky hip-hop charm, spellbound by the skilful ease with which is takes the sometimes quite dull historical fact and skews it into something consistently entertaining and absorbing, transported by the catchy earworm musical numbers and thoroughly tickled by the delightfully cheeky sense of humour strung throughout (at least when I wasn’t having my heart broken by moments of raw dramatic power). Altogether it’s a pretty unique cinematic experience I wish I could have actually gotten to see on the big screen, and one I’ve consistently recommended to all my friends, even the ones who don’t usually like musicals. As far as I’m concerned it doesn’t need a proper Les Misérables style screen adaptation – this is about as perfect a presentation as the show could possibly hope for.

16. SPUTNIK – summer’s horror highlight (despite SERIOUSLY tough competition) was a guaranteed sleeper hit that I almost missed entirely, stumbling across the trailer one day on YouTube and getting bowled over by its potential, prompting me to hunt it down by any means necessary. The feature debut of Russian director Egor Abramenko, this first contact sci-fi chiller is about as far from E.T. as it’s possible to get, sharing some of the same DNA as Carpenter’s The Thing but proudly carving its own path with consummate skill and definitely signalling great things to come from its brand new helmer and relative unknown screenwriters Oleg Malovichko and Andrei Zolotarev. Oksana Akinshina (probably best known in the West for her powerful climactic cameo in The Bourne Supremacy) is the beating heart of the film as neurophysiologist Tatyana Yuryevna Klimova, brought in to aid in the investigation in the Russian wilderness circa 1983 after an orbital research mission goes horribly wrong. One of the cosmonauts dies horribly, while the other, Konstantin (The Duelist’s Pyotr Fyodorov) seems unharmed, but it quickly becomes clear that he’s now the host for something decidedly extraterrestrial and potentially terrifying, and as Tatyana becomes more deeply embroiled in her assignment she comes to realise that her superiors, particularly mysterious Red Army project leader Colonel Semiradov (The PyraMMMid’s Fyodor Bondarchuk), have far more insidious plans for Konstantin and his new “friend” than she could ever imagine. This is about as dark, intense and nightmarish as this particular sub-genre gets, a magnificently icky body horror that slowly builds its tension as we’re gradually exposed to the various truths and the awful gravity of the situation slowly reveals itself, punctuated by skilfully executed shocks and some particularly horrifying moments when the evils inflicted by the humans in charge prove far worse than anything the alien can do, while the ridiculously talented writers have a field day pulling the rug out from under us again and again, never going for the obvious twist and keeping us guessing right to the devastating ending, while the beautifully crafted digital creature effects are nothing short of astonishing and thoroughly creepy. Akinshina dominates the film with her unbridled grace, vulnerability and integrity, the relationship that develops between Tatyana and Konstantin (Fyodorov delivering a beautifully understated turn belying deep inner turmoil) feeling realistically earned as it goes from tentatively wary to tragically bittersweet, while Bondarchuk invests the Colonel with a nuanced air of tarnished authority and restrained brutality that made him one of my top screen villains for the year. One of 2020’s great sleeper hits, I can’t speak of this film highly enough – it’s a genuine revelation, an instant classic for whom I’ll sing its praises for years to come, and I wish enormous future success to all the creative talents involved.

15. THE INVISIBLE MAN – looks like third time’s a charm for Leigh Whannell, writer-director of my ALMOST horror movie of the year (more on that later) – while he’s had immense success as a horror writer over the years (co-creator of both the Saw and Insidious franchises), as a director his first two features haven’t exactly set the world alight, with debut Insidious: Chapter III garnering similar takes to the rest of the series but ultimately turning out to be a bit of a damp squib quality-wise, while his second feature Upgrade was a stone-cold masterpiece that was (rightly) EXTREMELY well received critically, but ultimately snuck in under the radar and has remained a stubbornly hidden gem since. No such problems with his third feature, though – his latest collaboration with producer Jason Blum and the insanely lucrative Blumhouse Pictures has proven a massive hit both financially AND with reviewers, and deservedly so. Having given up on trying to create a shared cinematic universe inhabited by their classic monsters, Universal resolved to concentrate on standalones to showcase their elite properties, and their first try is a rousing success, Whannell bringing HG Wells’ dark and devious human monster smack into the 21st Century as only he can. The result is a surprisingly subtle piece of work, much more a lethally precise exercise in cinematic sleight of hand and extraordinary acting than flashy visual effects, strictly adhering to the Blumhouse credo of maximum returns for minimum bucks as the story is stripped down to its bare essentials and allowed to play out without any unnecessary weight. The Handmaid’s Tale’s Elizabeth Moss once again confirms what a masterful actress she is as she brings all her performing weapons to bear in the role of Cecelia “Cee” Kass, the cloistered wife of affluent but monstrously abusive optics pioneer Aidan Griffin (Netflix’ The Haunting of Hill House’s Oliver Jackson-Cohen), who escapes his clutches in the furiously tense opening sequence and goes to ground with the help of her closest childhood friend, San Francisco cop James Lanier (Leverage’s Aldis Hodge) and his teenage daughter Sydney (A Wrinkle in Time’s Storm Reid). Two weeks later, Aidan commits suicide, leaving Cee with a fortune to start her life over (with the proviso that she’s never ruled mentally incompetent), but as she tries to find her way in the world again little things start going wrong for her, and she begins to question if there might be something insidious going on. As her nerves start to unravel, she begins to suspect that Aidan is still alive, still very much in her life, fiendishly toying with her and her friends, but no-one can see him. Whannell plays her paranoia up for all it’s worth, skilfully teasing out the scares so that, just like her friends, we begin to wonder if it might all be in her head after all, before a spectacular mid-movie reveal throws the switch into high gear and the true threat becomes clear. The lion’s share of the film’s immense success must of course go to Moss – her performance is BEYOND a revelation, a blistering career best that totally powers the whole enterprise, and it goes without saying that she’s the best thing in this. Even so, she has sterling support from Hodge and Reid, as well as Love Child’s Harriet Dyer as Cee’s estranged big sister Emily and Wonderland’s Michael Dorman as Adrian’s slimy, spineless lawyer brother Tom, and, while he doesn’t have much actual (ahem) “screen time”, Jackson-Cohen delivers a fantastically icy, subtly malevolent turn which casts a large “shadow” over the film. This is one of my very favourite Blumhouse films, a pitch-perfect psychological chiller that keeps the tension cranked up unbearably tight and never lets go, Whannell once again displaying uncanny skill with expert jump-scares, knuckle-whitening chills and a truly astounding standout set-piece that easily goes down as one of the top action sequences of 2020. Undoubtedly the best version of Wells’ story to date, this goes a long way in repairing the damage of Universal’s abortive “Dark Universe” efforts, as well as showcasing a filmmaking master at the very height of his talents.

14. EXTRACTION – the Coronavirus certainly has threw a massive spanner in the works of the year’s cinematic calendar – among many other casualties to the blockbuster shunt, the latest (and most long-awaited) MCU movie, Black Widow, should have opened to further record-breaking box office success at the end of spring, but instead the theatres were all closed and virtually all the heavyweights were pushed back or shelved indefinitely. Thank God, then, for the streaming services, particularly Hulu, Amazon and Netflix, the latter of which provided a perfect movie for us to see through the key transition into the summer blockbuster season, an explosively flashy big budget action thriller ushered in by MCU alumni the Russo Brothers (who produced and co-wrote this adaptation of Ciudad, a graphic novel that Joe Russo co-created with Ande Parks and Fernando Leon Gonzalez) and barely able to contain the sheer star-power wattage of its lead, Thor himself. Chris Hemsworth plays Tyler Rake, a former Australian SAS operative who hires out his services to an extraction operation under the command of mercenary Nik Khan (The Patience Stone’s Golshifteh Farahani), brought in to liberate Ovi Mahajan (Rudhraksh Jaiswal in his first major role), the pre-teen son of incarcerated Indian crime lord Ovi Sr. (Pankaj Tripathi), who has been abducted by Bangladeshi rival Amir Asif (Priyanshu Painyuli). The rescue itself goes perfectly, but when the time comes for the hand-off the team is double-crossed and Tyler is left stranded in the middle of Dhaka with no choice but to keep Ovi alive as every corrupt cop and street gang in the city closes in around them. This is the feature debut of Sam Hargrave, the latest stuntman to try his hand at directing, so he certainly knows his way around an action set-piece, and the result is a thoroughly breathless adrenaline rush of a film, bursting at the seams with spectacular fights, gun battles and car chases, dominated by a stunning sustained sequence that plays out in one long shot, guaranteed to leave jaws lying on the floor. Not that there should be any surprise – Hargrave cut his teeth as a stunt coordinator for the Russos on Captain America: Civil War and their Avengers films. That said, he displays strong talent for the quieter disciplines of filmmaking too, delivering quality character development and drawing out consistently noteworthy performances from his cast. Of course, Hemsworth can do the action stuff in his sleep, but there’s a lot more to Tyler than just his muscle, the MCU veteran investing him with real wounded vulnerability and a tragic fatalism which colours every scene, while Jaiswal is exceptional throughout, showing plenty of promise for the future, and there’s strong support from Farahani and Painyuli, as well as Stranger Things’ David Harbour as world-weary retired merc Gaspard, and a particularly impressive, muscular turn from Randeep Hooda (Once Upon a Time in Mumbai) as Saju, a former Para and Ovi’s bodyguard, who’s determined to take possession of the boy himself, even if he has to go through Tyler to get him. This is action cinema that really deserves to be seen on the big screen – I watched it twice in a week and would happily have paid for two trips to the cinema for it if I could have. As we looked down the barrel of a summer season largely devoid of blockbuster fare, I couldn’t recommend this enough. Thank the gods for Netflix …

13. THE TRIAL OF THE CHICAGO 7 – although it’s definitely a film that really benefitted enormously from releasing on Netflix during the various lockdowns, this was one of the blessed few I actually got to see during one of the UK’s frustratingly rare lulls when cinemas were actually OPEN. Rather perversely it therefore became one of my favourite cinematic experiences of 2020, but then I’m just as much a fan of well-made cerebral films as I am of the big, immersive blockbuster EXPERIENCES, so this probably still would have been a standout in a normal year. Certainly if this was a purely CRITICAL list for the year this probably would have placed high in the Top Ten … Aaron Sorkin is a writer whose work I have ardently admired ever since he went from esteemed playwright to in-demand talent for both the big screen AND the small with A Few Good Men, and TTOTC7 is just another in a long line of consistently impressive, flawlessly written works rife with addictive quickfire dialogue, beautifully observed characters and rewardingly propulsive narrative storytelling (therefore resting comfortably amongst the well-respected likes of The West Wing, Charlie Wilson’s War, Moneyball and The Social Network). It also marks his second feature as a director (after fascinating and incendiary debut Molly’s Game), and once again he’s gone for true story over fiction, tackling the still controversial subject of the infamous 1968 trial of the “ringleaders” of the infamous riots which marred Chicago’s Diplomatic National Convention five months earlier, in which thousands of hippies and college students protesting the Vietnam War clashed with police. Spurred on by the newly-instated Presidential Administration of Richard Nixon to make some examples, hungry up-and-coming prosecutor Richard Schultz (Joseph Gordon-Levitt) is confident in his case, while the Seven – who include respected and astute student activist Tom Hayden (Eddie Redmayne) and confrontational counterculture firebrands Abbie Hoffman (Sacha Baron Cohen) and Jerry Rubin (Succession’s Jeremy Strong) – are the clear underdogs. They’re a divided bunch (particularly Hayden and Hoffman, who never mince their words about what little regard they hold for each other), and they’re up against the combined might of the U.S. Government, while all they have on their side is pro-bono lawyer and civil rights activist William Kunstler (Mark Rylance), who’s sharp, driven and thoroughly committed to the cause but clearly massively outmatched … not to mention the fact that the judge presiding over the case is Julius Hoffman (Frank Langella), a fierce and uncompromising conservative who’s clearly 100% on the Administration’s side, and who might in fact be stark raving mad (he also frequently goes to great lengths to make it clear to all concerned that he is NOT related to Abbie). Much as we’ve come to expect from Sorkin, this is cinema of grand ideals and strong characters, not big spectacle and hard action, and all the better for it – he’s proved time and again that he’s one of the very best creative minds in Hollywood when it comes to intelligent, thought-provoking and engrossing thinking-man’s entertainment, and this is pure par for the course, keeping us glued to the screen from the skilfully-executed whirlwind introductory montage to the powerfully cathartic climax, and every varied and brilliant scene in-between. This is heady stuff, focusing on what’s still an extremely thorny issue made all the more urgently relevant and timely given what was (and still is) going on in American politics at the time, and everyone involved here was clearly fully committed to making the film as palpable, powerful and resonant as possible for the viewer, no matter their nationality or political inclination. Also typical for a Sorkin film, the cast are exceptional, everyone clearly having the wildest time getting their teeth into their finely-drawn characters and that magnificent dialogue – Redmayne and Baron Cohen are compellingly complimentary intellectual antagonists given their radically different approaches and their roles’ polar opposite energies, while Rylance delivers another pitch-perfect, simply ASTOUNDING performance that once again marks him as one of the very best actors of his generation, and there are particularly meaty turns from Strong, Langella, Aquaman’s Yahya Abdul-Mateen II (as besieged Black Panther Bobby Seale) and a potent late appearance from Michael Keaton that sear themselves into the memory long after viewing. Altogether then, this is a phenomenal film which deserves to be seen no matter the format, a thought-provoking and undeniably IMPORTANT masterwork from a master cinematic storyteller that says as much about the world we live in now as the decidedly turbulent times it portrays …

12. GREYHOUND – when the cinemas closed back in March, the fate of many of the major summer blockbusters we’d been looking forward to was thrown into terrible doubt. Some were pushed back to more amenable dates in the autumn or winter (which even then ultimately proved frustratingly ambitious), others knocked back a whole year to fill summer slots for 2021, but more than a few simply dropped off the radar entirely with the terrible words “postponed until further notice” stamped on them, and I lamented them all, this one in particular. It hung in there longer than some, stubbornly holding onto its June release slot for as long as possible, but eventually it gave up the ghost too … but thanks to Apple TV+, not for long, ultimately releasing less than a month later than intended. Thankfully the film itself was worth the fuss, a taut World War II suspense thriller that’s all killer, no filler – set during the infamous Battle of the Atlantic, it portrays the constant life-or-death struggle faced by the Allied warships assigned to escort the transport convoys as they crossed the ocean, defending their charges from German U-boats. Adapted from C.S. Forester’s famous 1955 novel The Good Shepherd by Tom Hanks and directed by Aaron Schneider (Get Low), the narrative focuses on the crew of the escort leader, American destroyer USS Fletcher, codenamed “Greyhound”, and in particular its captain, Commander Ernest Krause (Hanks), a career sailor serving his first command. As they cross “the Pit”, the most dangerous middle stretch of the journey where they spend days without air-cover, they find themselves shadowed by “the Wolf Pack”, a particularly cunning group of German submarines that begin to pick away at the convoy’s stragglers. Faced with daunting odds, a dwindling supply of vital depth-charges and a ruthless, persistent enemy, Krause must make hard choices to bring his ships home safe … jumping into the thick of the action within the first ten minutes and maintaining its tension for the remainder of the trim 90-minute run, this is screen suspense par excellence, a sleek textbook example of how to craft a compelling big screen knuckle-whitener with zero fat and maximum reward, delivering a series of desperate naval scraps packed with hide-and-seek intensity, heart-in-mouth near-misses and fist-in-air cathartic payoffs by the bucket-load. Hanks is subtly magnificent, the calm centre of the narrative storm as a supposed newcomer to this battle arena who could have been BORN for it, bringing to mind his similarly unflappable in Captain Phillips and certainly not suffering by comparison; by and large he’s the focus point, but other crew members make strong (if sometimes quite brief) impressions, particularly Stephen Graham as Krause’s reliably seasoned XO, Lt. Commander Charlie Cole, The Magnificent Seven’s Manuel Garcia-Rulfo and Just Mercy’s Rob Morgan, while Elisabeth Shue does a lot with a very small part in brief flashbacks as Krause’s fiancée Evelyn. Relentless, exhilarating and thoroughly unforgettable, this was one of the true action highlights of the summer, and one hell of a war flick. I’m so glad it made the cut for the summer …

11. PROJECT POWER – with Marvel and DC pushing their tent-pole titles back in the face of COVID, the usual superhero antics we’ve come to expect for the summer were pretty thin on the ground in 2020, leading us to find our geeky fan thrills elsewhere. Unfortunately, pickings were frustratingly slim – Korean comic book actioner Gundala was entertaining but workmanlike, while Thor AU Mortal was underwhelming despite strong direction from Troll Hunter’s André Øvredal, and The New Mutants just got shat on by the studio and its distributors and no mistake – thank the Gods, then, for Netflix, once again riding to the rescue with this enjoyably offbeat super-thriller, which takes an intriguing central premise and really runs with it. New designer drug Power has hit the streets of New Orleans, able to give anyone who takes it a superpower for five minutes … the only problem is, until you try it, you don’t know what your own unique talent is – for some, it could mean five minutes of invisibility, or insane levels of super-strength, but other powers can be potentially lethal, the really unlucky buggers just blowing up on the spot. Robin (The Hate U Give’s Dominique Fishback) is a teenage Power-pusher with dreams of becoming a rap star, dealing the pills so she can help her diabetic mum; Frank Shaver (Joseph Gordon-Levitt) is one of her customers, a police detective who uses his power of near invulnerability to even the playing field when supercharged crims cause a disturbance. Their lives are turned upside down when Art (Jamie Foxx) arrives in town – he’s a seriously badass ex-soldier determined to hunt down the source of Power by any means necessary, and he’s not above tearing the Big Easy apart to do it. This is a fun, gleefully infectious rollercoaster that doesn’t take itself too seriously, revelling in the anarchic potential of its premise and crafting some suitably OTT effects-driven chaos brought to pleasingly visceral fruition by its skilfully inventive director, Ariel Schulman (Catfish, Nerve, Viral), while Mattson Tomlin (the screenwriter of the DCEU’s oft-delayed, incendiary headline act The Batman) takes the story in some very interesting directions and poses fascinating questions about what Power’s TRULY capable of. Gordon-Levitt and Fishback are both brilliant, the latter particularly impressing in what’s sure to be a major breakthrough role for her, and the friendship their characters share is pretty adorable, while Foxx really is a force to be reckoned with, pretty chill even when he’s in deep shit but fully capable of turning into a bona fide killing machine at the flip of a switch, and there’s strong support from Westworld’s Rodrigo Santoro as Biggie, Power’s delightfully oily kingpin, Courtney B. Vance as Frank’s by-the-book superior, Captain Crane, Amy Landecker as Gardner, the morally bankrupt CIA spook responsible for the drug’s production, and Machine Gun Kelly as Newt, a Power dealer whose pyrotechnic “gift” really isn’t all it’s cracked up to be. Exciting, inventive, frequently amusing and infectiously likeable, this was some of the most uncomplicated cinematic fun I had all summer. Not bad for something which I’m sure was originally destined to become one of the season’s B-list features …

#onward #onward movie #The Gentlemen #spontaneous #spontaneous movie #hamilton #hamilton movie #sputnik #sputnik movie #The Invisible Man #Extraction #extraction movie #the trial of the chicago 7 #greyhound #greyhound movie #project power #2020 in movies

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thefilmfatale · 5 years

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Always Be My Maybe and How to Ruin a Rom Com

There is an art to a good romantic comedy.

Let me preface this post with a confession: I am a rom com enthusiast. Go ahead, turn your nose up at me, you snobs! But I unabashedly love romantic comedies. Yes, I’m aware that the genre is much maligned for being painfully predictable and vapid, but it would surprise you how tough it actually is to produce a solid rom com that hits all the right notes.

You see, there’s a formula. Boy Meets Girl (yes, I’m being deliberately heteronormative for this example, put your pitchforks down). Girl plays hard to get. Boy persists and wins her over despite how much the lady doth protest too much. A conflict introduces tension and separation (”Gasp! This was all part of a bet?!”), throwing the relationship into jeopardy. Boy performs Grand Gesture™ to win back Girl’s heart. Girl forgives Boy and the two gallop into the sunset. Cue Third Eye Blind’s “Semi-Charmed Life” as the credits roll.

The formula works, but only if the filmmaker can trick the audience into believing that this on screen romance has real stakes. To do that, you have to have a script that at least pretends to explore an interesting relationship which, as it unfolds, gives the audience butterflies and makes them want to root for the star-crossed lovers. Without audience investment, you have no rom com.

To get the audience to invest, you need likeable leads who have great chemistry and just enough tangible sexual tension to create that air of “Will they or won’t they?” After all, no one ships a couple who are devoid of personality and lack chemistry. Most of this sexual tension is physical—in the way the actors interact with each other—but what can really help establish this is verbal, by way of witty repartee.

Think of some of the classic rom coms, like When Harry Met Sally. Why does it work? Sally is a Type A personality. Prim, proper, particular, and uptight. Harry is more laid back, casual, and candid— unafraid to tell it like it is. He’s also a bit of a troll who enjoys getting a rise out of someone. Throw the two on a road trip together and you have a recipe for romance (or disaster—however you want to look at it). As a viewer, you begin to root for them because we’re told that opposites attract and complement each other. Harry softens Sally’s rough edges, Sally helps Harry realize he needs some maturing.

And you all know the Big Gesture™. A New Year’s eve confession that inspired a thousand sappy rom-com speeches.

What makes When Harry Met Sally successful?

Harry and Sally are different enough from each other that there is enough sexual tension and push and pull to make their interactions interesting.

Each half of the couple has their own personality that feels authentic to their character. They have their own ambitions and goals. They also have traits and quirks that uniquely position them to attract each other.

The relationship does not seem guaranteed—the audience has to have a moment of doubt or uncertainty that makes them will the couple back together.

Meg Ryan and Billy Crystal have fantastic chemistry.

It seems pretty straightforward. Follow the formula, and you’ll be fine. In fact, it’s hard to screw up a good rom com if you just imagine unconventional ways to put two individually interesting but opposite enough people together then lean back and watch the sparks fly.

So all this to say that nothing could have prepared me for the soul-sucking awfulness of Always Be My Maybe, the Netflix flick starring comedian Ali Wong (know for her Baby Cobra Netflix special) and Fresh Off the Boat’s Randall Park.

The story follows Sasha Tran (Wong), a renowned chef and restauranteur, who rekindles a romance with her childhood best friend Marcus Kim (Park) when her marriage engagement suddenly falls through. Tran is portrayed as ambitious and driven, while Kim is unmotivated and immature, using his widowed father as a crutch to not follow his dreams. In its purest form (this summary), the gist of the story seems fine. Nothing to write home about (certainly not novel), but this is romantic comedy and the bar is more of a footstool so no one’s begrudging sticking to convention. But Always Be My Maybe takes that convention and, in true Asian fashion, approaches it with textbook diligence that just sapped the joy and life out of what should have been a fun, light-hearted romp. So much for subverting Asian stereotypes!

Now I’m a fan of Ali Wong and Randall Park’s, but this movie was so mind-numbing, it made me physically ill. Ali Wong? Hilarious! Randall Park? Extremely likable and has great comedic timing! Together you would think they would be dynamite. Fireworks! An explosive affair of epic proportions! And for those of us who’ve had a hankering for a rom com with Asian leads (and God knows we’ve waited a long fucking time—thank you, Crazy Rich Asians) we know about the demand for one.

Alas, what a disappointment. A telephone pole and I would have had more chemistry than Ali Wong and Randall Park. As much as it pains, I have to say that Always Be My Maybe just might be one of the worst romantic comedies I have ever watched.

Not only did this movie put two leads together who had zero chemistry—or at least enough sexual tension to help the audience suspend their disbelief that these aren't just actors—but the story unfolds in a fashion that actually makes the audience keenly aware of the formula. I know I said if you just follow the formula you can’t go wrong, but Jesus they didn’t have to make it so obvious! It’s like Fight Club, you know? The first rule of making a good rom com is YOU DO NOT MAKE THE AUDIENCE AWARE THAT THEY ARE WATCHING A ROM COM. I mean, at least try to approach it like it’s actually an interesting story about two people.

Instead, the movie followed story beats that seemed to exist for the sake of moving the story along instead of actually selling us on the relationship. The beats were so obvious that you can actually pinpoint where they begin and end because they were helpfully (and often unnecessarily) bookended by old school hip hop songs. Cue music! Here comes the conflict, the part where Boy and Girl rekindle their romance only to find that the years apart have made them different people. Boy judges Girl for being pretentious and obnoxious. Girl judges boy for being immature and unmotivated. A big fight ensues! Insults are hurled at each other that are so truthful they hurt! But it’s only a sign that they are meant to be with each other because they can trust each other to be this honest!

You know your movie is bad when your story beats are so obvious that they take the viewer out of the movie. You know your rom com is bad when Boy’s Big Gesture™ felt like a very clear When Harry Met Sally rip-off with dialogue that makes you want to get a lobotomy. There’s certainly nothing wrong with being referential or, even better, deliberately parodying romantic comedies. But Always Be My Maybe wasn’t really trying to be either. It was just stuck in this weird gray area of trying to be a romantic comedy and failing.

Always Be My Maybe’s biggest problem is in its turd of a script. It was so cringeworthy, filled with inauthentic lines and tired Asian jokes (the joke about Asians hating tipping was played out to the point of exasperation). Even their attempts to make fun of woke culture (which is an effort I wholly endorse) felt contrived and flat, which is such a bummer because that would have been a cool differentiator. Even the promising jabs at the pretentiousness of haute cuisine were awkwardly executed. Most of all, it didn't do its lead actors any favors, turning them into cartoonish cardboard cut-outs that were designed to follow the formula of a rom-com without putting in the work to earn the audience’s investment. Performance-wise, Wong did a passable job, but there were times when it felt like she was reciting a line that was clearly more apt for a comedy skit rather than a piece of dialogue that a character in a movie is saying. Park’s attempt at faux awkwardness, on the other hand, was excruciating to watch. Couldn’t he just be a dude in a rap band who happens to live with his dad? That's a decent enough back story. There really wasn’t a need to give him a personality quirk that seemed put on rather than authentic.

The film’s most promising moment was a Keanu Reeves cameo. And it’s only because Reeves was so game at poking fun of himself and the pretentiousness of celebrity that it worked. But just like the tired Asian jokes, at a certain point the humor was played out to the point where it became unwelcome. I also want to give credit to the film for portraying an Asian American upbringing that wasn’t the Fresh Off the Boat variety. While there isn't anything wrong with that portrayal, it’s also a treat to be able to see a different dimension of Asian culture, one that shows how typical and relatable it is to the average American’s upbringing. Premarital, promiscuous sex! Rap music! Being into pretentious food! Much as I hate to admit it, the whole “Asians—we’re just like you!” approach is kinda needed in film and television because it removes this layer of exoticization that can be restrictive to Asian characters.

While not tokenizing Asian characters is a positive, it still doesn’t make Always Be My Maybe a good movie. While I did watch it all the way to the end (despite my body’s vehement protests), it hurt my soul in ways I didn’t anticipate. How did they ruin this rom com? First, and most importantly, there was a shocking lack of individual character development. You don't get a sense of who these people are individually. Instead, they just seemed to be characters created for the sole purpose of putting them together and contrasting them enough to where they should have some sort of chemistry. But you can’t manufacture that. Each actor has to go through the work of making their characters likable. If I like the characters individually, I like them even better together! See how that 2+2 worked? But without dedicating the right amount of time and space in the story to showing their inner lives and what makes them tick, you’re setting them up for failure.

Second, and on a related note: there were no real stakes to the relationship. because setting up Sasha and Marcus to be together just seemed like a given from the get go. There didn’t seem to be any real jeopardy to their relationship, even once the conflict was introduced. The forced repartee between the characters came off like lines of dialogue instead of natural conversation, not to mention the very apparent lack of chemistry between Ali Wong and Randall Park. So much so that you didn’t really want to see them make out, let alone root for them to end up together. And that, ladies and gentlemen, is how you ruin a rom com.

If you, a friend, or family member just watched Always Be My Maybe and are experiencing similar symptoms of nausea and misanthropy, may I direct you to a Netflix original rom com that is actually good? Go check out Set It Up, if you haven’t already!

What did you think of Always Be My Maybe? Am I full of shit? Did you like it? What are some of your favorite romantic comedies? Sound off in the comments below!

#always be my maybe #movie reviews #Ali wong #Randall park

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jinjojess · 7 years

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Can you say what you think of each Exile Election character and the impression they left on you?

Sure, that sounds like fun.

Cut for length.

Ichijou Kaname

Kaname’s alright. I don’t love him but I don’t hate him either. His design is kinda dumb with the white hair, but I also kind of like that it’s just a touch of flair in an otherwise sort of normal uniform attire. The headphones are cool too and I really like that they actually have a story purpose and aren’t just decoration.

Personality-wise, so far Kaname’s very white-bread VN protag material, though the being able to see lies as a result of his synesthesia is kind of interesting. I hate how he talks most of the time because it’s so stereotypically anime douche-style, but I do like that he doesn’t spend all of his internal monologue thinking about how he needs to protect Ichika or anything. Plus if he’s filled with murderous revenge rage, that’s always a plus for me.

He’s flawed, is what I’m saying, which is really nice.

Houshi Ichika

I just cannot even with this design. What the fuck. Like I mentioned in my LP, she ticks so many boxes on the trope-o-meter that she just about breaks it: childhood friend/probable love interest; stupid pun name; love of sweet food (strawberries in this case, also relating back to dumb pun name); dog collar; chain; dog collar; thigh belt; ribbon; DOG COLLAR; school uniform no school would ever assign; etc.

However, despite her constant “I’ll do whatever you say, Kaname” thing, she actually seems semi-reasonable? I did like the part where she physically held Kaname’s face in place so he couldn’t see Misa get eaten because it could either mean that she’s a good friend concerned about his emotional state, or she knows that something else is going on here and wants to keep his attention focused elsewhere.

Fingers crossed for crazy mastermind-type but not of the yandere variety.

Ichijou Misa

Misa’s okay. She’s a stereotypical anime kid sister. Served her role in the story so far just fine I guess. May or may not be Noori. Makes me appreciate how dynamic Komaru is in comparison.

My only thing with her is that the game’s website claims she’s 13, but she doesn’t act 13, she acts like she’s 6. This is a common problem a lot of fiction has when people are not used to being around actual kids and pre-teens–this is what made later seasons of Buffy after Dawn was introduced so obnoxious.

Official site also calls her a moodmaker which in VN lingo is never a good sign.

Noori

Totally Not Misa You Guys. Man I really hope they subvert that…

What’s kind of interesting about Noori is that the game is treating her amnesia as the serious condition it would be in real life. Like there are drawbacks and side effects to it like not knowing how to speak or process what’s going on around her. Makes the situation less tropey and moe and more realistic and sad, so I appreciate that.

Since Alice already lampshaded the Imouto Route thing, I’m hoping we get to avoid that as well and instead Noori will be like…the personification of Kaname’s pathological desire to protect his sister and infantilize her rather than recognize that she was an individual.

(My hopes are not super high about that though.)

Himeno Miori

Textbook shy girl with glasses trope so far. It is a little interesting how her brother and Michimune sort of try to override her opinions all the time and we get to see her fighting back for once in the first(?) election in the flashback. She seems poised to get a character arc revolving around breaking free of her trio and being her own person.

Since Miori is only two years older than Misa and yet is recognized as acting more as a real person and not as a toddler, maybe the game could be setting up a clever parallel between how Michimune and Yuuri try to babify Miori and how Kaname never wanted to admit that his sister was growing up?

Hush, let me construct a more layered and nuanced story for myself to enjoy okay?

Himeno Yuuri

Shouta character extraordinaire. Yuuri hasn’t really done much so far so I don’t have much of an opinion on him yet. I do think it’s weird that Kaname recognizes him as a boy in the dark square just after a massacre but then gets confused in the relatively calm setting of the observatory under actual lighting.

Again, only one year older than Misa, yet acts completely different. Does ascending to chuuni suddenly make people rapidly mature mentally in this universe?

Also, is he wearing garters under his knees to hold up his socks? Watch yourself, boy. You’re edging in on Ichika’s dumb design territory.

Isurugi Michimune

I don’t know why, but I just really like Michimune’s design. Perhaps it’s the relative simplicity of it, or the fact that I just happen to like navy and orange as a color combo, who knows.

I don’t have much of an issue with Michimune so far–I like that he’s kind of hot headed but trying not to be. Like he’s easily goaded into starting to go for Alice just by Izuki calling him a pansy, despite that he knows deep down it’s a bad idea.

Basically he’s also clearly flawed and I like that. He’s a character dealing with an internal struggle–trying to temper is own natural inclinations for the sake of his friends. According to the website he’s best friends with Yuuri and wants to protect both him and his big sister Miori, which is a kind of interesting parallel with Kaname that I hope goes somewhere interesting.

Ayara Izuki

I love this guy. I just…look at him. Fucking look at him. Look at his blue hair. Look at his neon pink hoodie. Look at his skull spider tattoo. Look at his highlighter yellow t-shirt. Look at his 90s hi-tops and his edgelord piercings. Look at his black neck bandanna. Look at how he wears a pair of handcuffs as a bracelet. LOOK AT HOW HIS HOODIE HAS THE SAME DESIGN AS HIS TATTOO.

This character’s design is a fucking train wreck, but in an entirely different way than Ichika. Like the game both kind of does and doesn’t seem to be taking the character designs seriously (Alice does make a quip about Ichika’s chain) but like…oh my god. This is just so fucking wonderful. It’s like a kaleidoscope that’s been sharpened into a butter knife.

Anyway, Izuki is your standard combative bad boy archetype. He’s 20 and jobless, according to the website. Nothing TOO interesting so far but I just love his stupid design so damn much that I want him to hang around for awhile (and ideally subvert the obvious assumption that he killed someone in the past, but hey).

Ninchouji Issei

So if Ichika is here to bait in thirsty otaku dudes, Issei is a little something for the ladies. His design is basically “Togami, but a chef” and his personality is…well, basically it’s kind of just “Togami, but a chef and without the really obvious disdain for everyone”. What I mean by that is that he’s the character who seems almost intrigued by the premise of this game and has a bit of a haughty, I-know-more-than-you-fools vibe going on.

That might be because he’s 25 and a chef and he’s stuck in this theme park with a bunch of kids, but who knows.

Isumi Hakushuu

I am still not over the fact that his first name sounds so close to the Japanese word for “applause” or the fact that his design is best described as “preppy Amami” (I can picture Amami going undercover as Hakushuu and Avril Lavigne singing “Complicated” as a result). He’s 20, he’s in college, he’s apparently the twins’ neighbor in their, I assume, gated community with high HOA fees.

So far he seems like he’ll be the calm, smart character, possibly betray everyone later on in the story. Or like maybe he’ll seem like he’s really in the game to win but then later he and Kaname become bros or something.

Personally I’m about as meh about him as I was about Amami.

Tadenomiya Aasha

One half of this VN’s twin set (the older one iirc?). Seems like Aasha is more interested in Western Gothic fashion, and she wears a black rose-shaped patch over her left eye, perhaps as a fashion statement or perhaps because she and Kaasha share an eye or something I dunno.

God this design. Half blue/half green hair, the handle to her parasol being shaped like a gun, the headgear…like what is that? Is she some kind of maid queen?

Anyway, the twins so far are both overly formal, seems haughty and antagonistic, and obsessed with Hakushuu for some reason I assume will never be adequately explained.

Also of note is that both twins are the same age as Misa, and the website says that they’re very advanced for their age. No, game, they’re not really. They act like typical chuunibyou mofos. They are being pretentious and embarrassing and act like they know everything, and I have encountered many 13-year-olds who are just like that.

Tadenomiya Kaasha

Other half of this game’s VN twin set (I think the younger one). This one comes in Japanese flavor, with the hakama and sword handle to her hikasa and white…what kind of flower is that? Anyway, a white flower over her right eye because in my mind the twins share an eye between them that gives them the ability to see other people’s abilities and that’s how they find out about Kaname’s lie-seeing thing and sorry. Trying to keep myself entertained.

Anyway, Kaasha so far has pretty much the same personality as Aasha. I really hope they both team up to mess people up rather than fight each other for Hakushuu’s attention, but if I’m being honest I already know that’s where we’re headed.

*sigh*

Yurizono Shihori

We’re still troping it up but we’ve now hit the trope I personally like–resting bitch face. Shihori don’t give a fuck about what’s going on here. She doesn’t have time to wear a bra, to emote, or give one single shit about the situation. She’s also strangely absent in the flashback but I don’t know what that means yet. Possibly that she will be a fake-out mastermind candidate later on in the game?

Design-wise I’m not sure how I feel about the boots or the fishnets, but other than that it’s fine. Pretty simple and more to my taste than the complicated stuff. Love the Kingdom Hearts-inspired design on her shirt too. Also her last name is literally just “lily garden” I mean come on. This hole was made for me.

Shihori is apparently 21 and a college student, hence her apathy about life probably. Also according to the website she has poor eyesight and carries around glasses but doesn’t wear them. See, that’s the kind of small personal detail that makes a character likable. That’s like a DR character trait.

Alice

Alice is my actual fave so far. She’s not TOO close to Monokuma, but there’s just enough resonance to make her fun. Alice is the only one who seems to be lampshading these dumb design choices or stock personality traits too, which I appreciate immensely.

As for her design, I like it. There’s that one weird ¾ sprite that looks kind of odd, but other than that she’s really cute and otherworldly. Like she’s clearly robotic but also clearly a rabbit which fits with the Wonderland theme, and she’s got the cute voice that’s really expressive (and a nice change of pace from the human characters, who for the most part are all pretty monotone so far…especially Kaname).

So yeah. There’s my thoughts so far on the Exile Election cast. I suppose I can update as I continue to play.

#Exile Election #Jess plays Exile Election #追放選挙 #long post #ask #dendyfalls

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andrahoinville9-blog · 7 years

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purplestar2442 · 7 years

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The movie LIFE

This is my review of the movie “LIFE”. I was excited for this movie. I didn't watch any previews and, I waited several months after it came out to watch it. The minute I heard about it I instantly knew it could be and awesome sifi-horror movie mashup of some sort.

While I was waiting to watch the movie my friend suggested I play or watch game play of the game called “Prey”. I bet you are wondering what that has to really do with this movie. I was wondering the same thing. So of course out of curiosity I checked it out, I looked everywhere then I found someone did a 100% gameplay and put it on their youtube, I was so curious.

When I was watching the 100% gameplay viewers were asking the player if he had see the movie “Life”. He said that he had not seen the movie. The viewer said there are similar components to the movie and this game. I was excited and continued to watch.

“ Prey is a first-person shooter with role-playing and stealth elements with strong narrative set in an open world environment. The player takes the role of Morgan Yu, a human aboard a space station with numerous species of hostile aliens known collectively as the Typhon. The player is able to select certain attributes of Morgan, including gender, and decisions made by the player that affects elements of the game's story. To survive, the player must collect and use weapons and resources aboard the station to fend off and defeat the aliens. According to creative director Raphaël Colantonio, the station is completely continuous rather than having separate levels or missions, at times requiring the player to return to areas they previously explored. The player is also able to venture outside of the station in zero gravity and find shortcuts connecting parts of the station. Colantonio also stated that the aliens have an array of different powers that the player character can gain over time; one such alien has the ability to mimic everyday items such as a chair.The game has multiple endings, according to lead designer Ricardo Bare; the endings fall into three major narrative structures depending on how the player broadly interacted with the station and surviving humans, but Bare said there are "tons of little permutations" based on specific events.”

I was so involved with this game play I was jumping, gasping and reacting with the player. I was enjoying myself and I thought to myself “if the movie is anything like this I’m going to love it.” The gameplay and gamer where so good I was hooked and addicted. I'll give you a quick example when I was watching one of the episodes of the game play my fan flipped over a tissue (and because of the wind) it was slowly crawling on the floor. I got a quick glimpse of it in my side eye and I flipped, I screamed and stomped on the tissue with my foot. That was how enthralled, involved, and addicted I was. Being so into this game and game play I found myself so excited for the movie. When the gamer had finished playing and reached the end of his 100%. I was so sad I wanted more I was craving more like a drug I couldn't get enough. I looked to find other gamers play but no one could give me that same in-depth enthrallment and entertainment. Overall this game got me really excited for this movie.

When I heard Ryan Reynolds and Jake Gyllenhaal where in the movie my hopes dropped a little bit. I had a feeling it would be ok, predictable or horrible and a waste of my time. But because I watched this gameplay of “Prey” the possibility of similar components for horror in the movie. Being scared by a single tissue, jumping, gasping, and enthrallment. Is what gave me hope in the first place and is what made me wait so long to see the movie.

When I finally got the movie from Netflix I waited a few days till there was nothing on tv. (AKA) had to wait till night-time so my kiddo wouldn't see anything. With “Prey” in the back of my mind I was trying to stay level-headed. Pop in the movie here we go.

(To the good bits) (SPOILERS)

Once Hugh “revives” the alien that they named Calvin. I said out loud “you’re an idiot and you’re going to die”. I was close but a little off, this surprised me. Calvin brakes Hugh’s hand finger by finger till he passes out.

(My hopes for this being a good movie kick in. I didn’t see that coming.)

Once Hugh is passed out, [you figure oh it’s fine Calvin is in a sealed box] but then like all good horror movies the alien Calvin gets out using the electric stick. In another box they have a rat, Calvin slips in to the rat's box and you see him consume the rat into nothing. The Engineer Roy used this opportunity to save his coworker Hugh. They got Hugh out but then Calvin latched onto Roy’s leg. His coworkers basically lock the door and seal it shut.

(I was right about the dieing just not the right character.) (Now the movie starts getting a little predictable.)

Roy tried to use some sort of mini flamethrower to attempt to kill Calvin. Flamethrower goes out of fuel, Calvin kills Roy, flamethrower set’s off some type of space fire alarm, Calvin escape in to the space station, all sorts of hell commence.

(Skipping around the boring bits, To the end)

I'm not going to lie, I watched the ended like 4 times before understanding what exactly happens, and how it happened.

Two people are left alive David and Miranda. There are two Escape pods, David leads Calvin into one pod to eject into deep space. While Miranda will use the other escape pod to go back to earth and worn everyone.

If you think it's a happy ending it's not, not really anyways. The writers from the looks of it thought that the ending was a great plot twist. In my eyes it was ridiculous and predictable. Of course the alien Calvin will get to earth. From my eyes they made the near ending confusing to keep you guessing. It's supposedly a horror movie there was no need for it really. You’d have to be a real idiot to think that the ending would be happy. So why bother with the smoke and mirrors?

Anyways…

So Calvin reaches earth in the pod near Vietnam, a Vietnamese fisher goes to rescue the pod. You see Roy’s face yelling “NO” as the fisherman pop’s open the pod. Then the camera pans out for you to see two more boats go to investigate the pod. Then The End

Seeing that was the ending, that was it? I was mad! I went online in hopes to read more about the ending. I was hoping to find a better understanding of the ending.

Screenwriter Rhett Reese said: “An ending doesn’t have to be happy to be satisfying. As long as it’s a satisfying ending that logically makes sense within the confines of the story then it should work. For life to flourish, other life had to be destroyed. That’s the cruel paradox we really wanted to end on.”

The ending is apparently meant to be confusing. The ending was meant to set up a possible sequel. I was immediately appalled and discussed over the idea of a sequel. Typical Hollywood never knowing when to quit, and to greedy to realize a dead end when they hit one. (That’s a rant for a different day.)

I keep reading the link i found to see a rumor. "What about it being a prequel? As for the recent internet rumor that Life supposedly sets up a Venom franchise in the Spider-Man universe."

(From the looks of it that does not seem to be the way they are going) not going to lie that would have been really cool.

“Venom is a Symbiote, a sentient alien, with a gooey, almost liquid-like form. As with real-world symbiotes, it requires a host, usually human, to bond with for its survival. After bonding, the Symbiote endows its enhanced powers upon the host. When the Venom Symbiote bonds with a human, that new dual-life form refers to itself as “Venom”.”

“After Spider-Man’s costume is ruined from battles with the villains, he is directed by Thor and the Hulk to a room at the heroes’ base where they inform him a machine can read his thoughts and instantly fabricate any type of clothing. Choosing a machine he believes to be the correct one, Spider-Man causes a black sphere to appear before him, which spreads over his body, dissolving the tattered old costume and covering his body to form a new black and white costume.”

Ergo in the original Spider-Man comic book you don’t know exactly where that black sphere really comes from. Calvin is supposedly smart. Who’s to say the alien Calvin doesn’t get caught by the military, wises up and figures out how to hid. Hides for a few years, and becomes the black sphere that becomes venom.

To use a horror movie as a starter for a venom origin, or a villain origin story that would have been, I think beyond so cool. This would have been awesome to break that glass and create a villain origin story.

Alas it doesn’t look like that's the way they are going and that's a real shame. We see a lot of superhero movies and some of their origin stories. Superheroes had their time, ani-superheroes had their time. When will it be villain time? I don’t mean main villain’s I know how the different types of the “joker” was made or shown, same for catwoman, The Green Goblin , etc. and many others. Show me a villain origin story that's not high established.

*grown* (grrrraaahh)

This was a perfectly missed opportunity if you ask me.

If they do turn it into a prequel venom origin story (they won’t). If they did I can forgive this predictable wannabe mess of a so called sifi-horror movie. If they don’t turn it into a prequel (they won’t) and they do a sequel (they will) I’ll give it one star out of six. If they leave it as is and don't do either (highly unlikely but possible) three stars out of six. When netflix asks me to rate this movie with their star system right now I'll give it a three stars For Now! The minute I hear about a sequel is the minute I change my rating to one star.

Here is the links I quoted from.

https://www.thrillist.com/entertainment/nation/life-movie-ending-explained-twist-spoilers

https://en.m.wikipedia.org/wiki/Venom_(comics)

https://en.wikipedia.org/wiki/Prey_(2017_video_game)

If you are also curious about the 100% gameplay here's the link: https://www.youtube.com/playlist?list=PLN39y5i_H0FnsVtl3KM00XFD4e1NBmwKg

This was my review thanks for reading,

~Purplestar💜

#movie review #prey game #lifethemovie #venom #what i thought

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doctorwhonews · 8 years

Text

Twelfth Doctor Vol #4 - The School Of Death - (Titan Comics)

Latest Review: STORY 1 - The School Of Death STORY 2 - The Fourth Wall STORY 3 - Robot Rampage Originally Published in Twelfth Doctor Year 2 Issues 1-5 (+ A Free Comicbook Day Issue) *************************************************************** WRITER: ROBBIE MORRISON ARTISTS: RACHAEL STOTT, SIMON FRASER COLORISTS: IVAN NUNES, MARCIO MENYS LETTERS: RICHARD STARKINGS + COMICRAFT’S JIMMY BETANCOURT SENIOR EDITOR: ANDREW JAMES ASSISTANT EDITOR: JESSICA BURTON DESIGNER: ROB FARMER *************************************************************** PUBLISHED: 13TH SEPTEMBER 2016 TITAN COMICS "There’s something fishy going on at the remote Scottish school of Ravenscaur... Something that has bedevilled students and teachers alike... Something that has lurked in the caverns beneath the school for millennia! Only the Doctor and Clara can unravel a deadly conspiracy that reaches as high as the Prime Minister of England!" (Official Teaser To The Title Story) --- The feature story had originally four issues in theYear Two run with which to build up suspense, and feature a number of engaging subplots, as well as a loosely connected solo adventure for the Twelfth Doctor taking on Captain Volk, and his lethal pirates/mercenaries. With this prologue of sorts, the reader only witnesses the climactic moments, but it still resonates enough to feel like a proper story in its own right. An exciting first impression is made in the 'pre-credit' sequence counterpart, as teacher Christel is hounded by mysterious forces. This 'sacrificial lamb' is given enough likability, and connection to Clara, for us to care about her grim fate. As the primary action unfolds, the creepy Mr Beck is keen to fully introduce The 'Impossible Girl' to the school, which turns out to have a number of skeletons hidden in its closets. After some mystery, the majority of the tale can be described as a thoroughly enjoyable romp. Two additional new 'assistants' help the Doctor overcome the real threat behind the cold-hearted bureaucratic school; one that Clara had intended to teach in, as a change-up from her hectic life in the capital city. Overall the story can be likened to a mixture of prior Sea Devil stories, with a 'Village Of The Damned' situation, as the local island/school community are all but completely mentally subdued. The Doctor and Clara clearly are at a stage in their partnership, where they enjoy each other's company and accept that they are very different in approach. Thus they can work together assuredly to solve the problems as required. I know many devoted fans prefer the Doctor to actually get on with his best friend, more often than not, and I count myself in that group. It is also welcome to have UNIT involved once again in these comics, with this present variant of the Doctor; (albeit now sadly announced as departing come Christmas this year). After the Zygon Invasion/Inversion story of Autumn 2015, this story honours continuity in typically faithful Titan style, by having both Osgoods feature in the narrative. Along with the much-loved Kate Stewart playing her role to help the Doctor, in the same way her father helped his 'predecessors', there has been a proper 'renaissance' for UNIT, of late. This is in thanks not only to the TV shows being seen globally, but also the work done across Doctor Who's various other mediums, ever since 2012's The Power Of Three. But ultimately the final triumph comes down to the TARDIS duo, and a pair of delinquent but warm-hearted teenagers, who have been too stubborn to be recruited by the Sea Devil's army of zombies. Come the ending there is a nice hint of the next stage in the journey of life for these two guest characters. The TV show - particularly the modern version - has always been good at not only wrapping up the main problem but making followers care about the fortunes of characters, most of whom are unlikely to ever be seen again. Some nice light-heartedness helps the story from taking itself too seriously, which is a wise move given how close to the Establishment Nose the satire verges on, at times. The Doctor's blasé attitude, or boldness, when confronted by the pub of possessed villagers would certainly play out well on primetime TV. His weak 'sea urchin' disguise is a fun example of his inconsistent ability to blend into his environment. I also enjoyed the swordfish ally, he acquires as he pretends a completely inanimate object is of the same value as K9 or Kamelion from his days of 'youth', but a nice irony is made of this towards the final stages. Other elements though would stretch the budget quite considerably, with some of the action being worthy of a proper Hollywood blockbuster. With the fine artistic skills of Rachael Stott and Ivan Nunes on display, the epic scope of the action is translated handsomely well, however. This effort entertains throughout. I cannot honestly say any of the new characters were ones for the ages, or worthy of a further adventure down the line, but they fit well into a fun story, where the odds seem stacked against contemporary human society. The original Sea Devils had its flaws but always knew how to move the narrative into some new location, or confound expectations. In that sense then, The School of Death rises to the surface with gusto, rather than stagnating to the bottom of the sea, like the much-maligned Peter Davison sequel. --- The second story is rather more satirical and self-referential, both in terms of its moods and its themes. It does an impressive job in casting retrospective light over the Doctor Who mythos itself. There is even a rather 'meta' take on the comic book medium which makes the story both entertaining, and distinctly different from other such stories, that centre on a mystery and a relentless force needing to be overcome. A fun poke at the TV show's once male-dominated fanbase is briefly incorporated into the tale. As many know, the male-female ratio of Doctor Who aficionados has evened up considerably in recent years thanks to the quality writing and casting of the 21st century series. Readers get to see some decided vanity from the Doctor – a defining characteristic whichever face/body he is inhabiting – when he displays outrage over the persona, or image, that he has online. This internet portrayal of our title hero reminded me of the very knowing TV portrayal of Clive, a superfan utterly obsessed with the mysterious Ninth Doctor, who featured in the reboot triumph that was Rose. Also notable - if perhaps somewhat surprising, given how much Clara has experienced - is the Coal Hill School teacher's cynicism over comic book shop staff claims regarding people going missing. At this point in her (ultimately infinite) life, she has seen enough weird and wonderful things. Then again, real people that we all know, are contradictory and three-dimensional. Whilst very likable, Clara would not be human without some judgemental sides to her character, and some entrenched pre-conceptions over certain types of people. With perhaps other references to the biggest comics and comic book companies also being intended by Morrison, I did enjoy one particular nod towards Marvel’s Silver Surfer. This story also operates as a loose sequel to Series Eight gem Flatline, and does a fine job of using a well-designed monster without just simply repeating the same ‘gimmick’. Whilst ‘The School Of Death’ had more time to develop its key supporting characters, as well as have some decent tertiary ‘cast members’, The Fourth Wall still is well-paced, and does a fine job of marrying continuity between the Titan comics and the actual TV show. Dialogue also seems to be pitched perfectly for the talents of Peter Capaldi and Jenna Coleman, were this to be an actual story made for Series 9. Prior stories (including the preceding Sea Devil one) have ‘cameos’ as panels within the story, enabling a clever parody on the comic book canvas and panelling techniques. The story also works on another level by having a strong message concerning escapism, especially one found in a personal hobby that others deem as 'not cool'. The danger of slipping too far into make-belief, however, should always be an important consideration for someone to still be healthy and interact well with others. For a story that had a solitary issue originally with which to get its objectives across, this is very impressive, and arguably the high point of this collection. --- Rounding off Volume Four is a fun, if very brief, sequel to Fourth Doctor debut Robot. With its limited page/panel count Robo Rampage acts more as a straight-up King Kong homage. The difference between the 1933 classic movie and this story, is that the English capital city is the playground for chaos, as opposed to Manhattan. As the metallic monster attacks the London Eye, this much 'older' Doctor rants over the greed and irresponsibility of humanity that has allowed for Professor Kettlewell’s invention to suddenly be back in the public sphere. This story has no Clara, but we do get a nice turn for Osgood, giving her more to do than in the main Sea Devil story. The UNIT scientist is still eager to be a proper companion (and into the bargain be excused from her day job duties). Showing her fanatical side, Osgood showers the grey haired wearer of sonic sunglasses with a number of 'alternative titles' to that of "Doctor". Some of those names are references to past TV stories. Ultimately though she tries to christen him with one of her own monikers. The previous two stories had their moments of mirth, but this one is probably the most amusing in terms of comedy, and can be regarded as a longer attempt at the (once customary) ‘bonus humour strip’. --- BONUS Two alternative covers are featured in full page size. They are credited to respectively Brian Miller, and Simon Myers. Other featured (albeit smaller-sized) covers are credited to Myers, Alex Ronald, Will Brooks, JAKe, and main artist Rachael Stott The main title cover is credited to Alice X. Zhang, and also features in the gallery section --- SUMMARY Altogether then, this is a fine collection of wholly new original stories that help develop both the main two characters, as well as some of the recurring allies to feature in the Steven Moffat epoch. It deserves to be taken as authentic and official in the time lines as the main televised entity itself. Oddly, there is no separate title for The Fourth Wall story within the collection (although the phrase is found within dialogue), whereas Robot Rampage (originally published for Free Comics Day) retains its name in-story. Regardless, if the reader has missed some or most of the prior issues released in Year 2, then this collection is the best option on the market. One to keep and enjoy. http://reviews.doctorwhonews.net/2017/02/twelfth_doctor_vol_4_the_school_of_death_titan_comi.html?utm_source=dlvr.it&utm_medium=tumblr

#COMIC #TWELFTH DOCTOR #TITAN COMICS #GRAPHIC NOVEL #UNIT

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