A young woman picks up her husband from prison but a car accident will put them up against hostile locals and a monstrous legend of the woods.
I’ll start with the good news, it’s less. Intriguing story. Not very original, but makes an interesting bigfoot logline for a film. The ones who have worked hard on this film are the makeup department’s boys and girls, making everyone’s death gory and fun.
All the rest belong to the opposite of good news. Directing, acting, and script are at best mediocre. Shame to see a decent story be somewhat crashed by the very departments that were meant to elevate it. But the story survived the crash… only to get irreparably crippled at first and then face a slow, painful, and vicious death – worse than any creature can cause – by editing. It is by far one of the worst edited films made in modern history. Absolute shame.
A fifty-year-old list of numbers prophesying every major catastrophe that took place ever since will make a professor of astrophysics, and a single parent, to race against time to prevent the ones that are yet to happen.
Is pessimistic optimism a term? Does it make sense? It doesn’t, does it? Be it as it may, that’s the oxymoronic feeling you get out of Knowing. But first things first…
“Randomness vs Determinism”, from a philosophical and/or scientific point of view, will become the setup’s foundation, and your mind’s internal debate while watching the confrontation unfolding. One of my favourite Nicolas Cage movie from the noughties where, back then, I couldn’t find many flaws. Watching it now for a second time, eleven years later, I spotted certain plot holes and gimmicks but I didn’t let them get in the way. Yet, it answers all the questions it raises halfway there (not even in the end), and that feels a bit spoonfed for my taste. Regardless, Cage is the right man for the job, Rose Byrne delivers a great performance, the kids are surprisingly convincing, and Ben Mendelsohn, be it in a leading or supporting role, always nails it. Once again, it’s a shame that the film answers everything for you.
The man in the director’s chair is Alex Proyas, a director whose niche is dark fantasy/sci-fi. My personal bests are: The Crow (1994), Dark City (1998), and I, Robot (2004). Unfortunately, he has not been involved in many projects and some of them, I believe, were beneath him. I look forward to watching something of his ’90s style soon.
(Not)Fun fact: The film predicted the BP’s oil spill in the Mexican gulf the year after.
A self-destructive, black market mercenary signs up for a deadly mission where allies and enemies are difficult to tell apart.
I’m gonna start with the bad news: The script, unequivocally, has more holes than Swiss cheese. Something that, unavoidably, leads to clichés. Without wanting to decimate both the story and the plot, know what yousign up for! Two hours of standard Hollywood, action narrative, seriously lacking plausibility, and character depth.
Now for the good news: As a representative example of cinema of attractions, Extraction‘s mid-fighting sequence, where everyone is after Tyler and the kid, the seemingly almost-12-minute, protracted shot is brilliantly made. This type of filmmaking is challenging as hundreds or thousands of people put their magic touch to look as impressive. A lot of people are getting injured in front of the camera, and a lot of people are working endlessly day and night behind it. What’s more, Chris Hemsworth nails his part as the tough as nails guy who suffers internally more than he suffers when he gets run over and shot. Sam Hargrave’s directorial debut who has come a long way from a stunt double (Chris Evans’ as Captain America), to stunt choreographer to here. And been produced by the Russo Brothers, I can assume that MCU is indeed… a family. I admire people like Hargrave. He reminds me of other successful stunts turned directors and producers such as Chad Stahelski and David Leitch, and Zoë Bell. It is a hopeful sign that talent and hard work pay off.
So, who is this film for? For everyone who wants to forget our deeply damaged reality, consisting of shameless hypocrites and cowards who found themselves in power – or represent it. Turn off reality for a bit and see how popcorn entertainment can serve its purpose. My heart goes out to the people suffering. But remember:
“[…] Through every dark night, there’s a bright day after that. So no matter how hard it get, stick your chest out, keep ya head up…. and handle it.” ― Tupac Shakur
Following an inexplicable, devastating earthquake, the crew of an oceanic drilling company must find a way to the surface while their whole facility collapses and creatures they have never seen before are after them.
This is the first time I watch a film, feeling like starting with the second act. I mean, as if the first act has been completely edited out. I would really like to get the shooting script and see if the script faded in this way or this “innovation” took place in the cutting room. Anyway, that’s the first strike right off the bat. The film’s main problem starts before that… in Hollywood. The vast majority of Hollywood producers never truly understood H. P. Lovecraft’s vision. They never grasped what the Cthulhu Mythos is. I might be wrong here but, as kids, they never really turned the lights off and scared themselves sh*tless with his cosmic horror. As adults, they only saw his stories as the cash cow; a means to make money! And that’s why the results are such.
Lovecraft’s stories are meant to inspire fear. His creatures cannot be fought. They hunt you and they haunt you and there is nothing you can do about it other than run and pray. And even then, the denouement will most likely not favour you. My second-best Lovecraftian adaptation is Color out of Space (2019) – https://kgpfilmreviews.com/2020/02/07/color-out-of-space-2019-horror-sci-fi/ and even though there were unresolved issues, director Richard Stanley managed to conceptualise his vision. But my number one old-time favourite adaptation still remains John Carpenter’s In the Mouth of Madness (1994) – https://kgpfilmreviews.com/2019/01/04/in-the-mouth-of-madness-1994-drama-horror-mystery/. Only if you watch it (or if you have) you will know what I am talking about. Having said that, the visual and sound effects teams did an amazing job with the creature(s). I must admit that that was really impressive. As Jessica Henwick always is. This isn’t William Eubank’s fault. He is a brilliant director and I look forward to watching his next couple of upcoming projects – I loved The Signal (2014).
In the world of Lovecraft, there is no action. Only struggle to remain sane while desperately trying to find any way out of it.
After losing her family in a terrorist attack, a young woman goes to extreme lengths to find and confront the people behind it.
I was really looking forward to this one but when it was released all hell broke loose. I will assume that that was the case for thousands of people and, mainly, that that was the reason for “one of the worst box office openings in history” – Bad Boys for Life (2020) though was released a fortnight prior to it and triumphed.
So, as that cannot be the only reason, I’m trying to get the full picture here. The story itself is not original but there is no such thing anyway so, my guess is that there are two problems. One, lies with the low level of espionage and the information surrounding it. People are found just… easily. Secondly, Stephanie was taken in… easily. “B” thought she caused big trouble with her actions, he didn’t believe in her skills, yet, he started training her straight away. That didn’t really make much sense.
Having said that, the film is well shot. The photography is dark, the editing advances the story and drives it forward, Reed Morano’s directing is challenging, to the point where I would say exceptional, and Blake Lively proves to be the up and coming mercenary / assassin. The car chase is the film’s trademark and will get you on the edge of your seat. Also, the realistic fight sequences add extra believability to the heroine’s journey.
The film’s challenges are understandable but with James Bond‘s producers behind it, it shouldn’t be too much of a problem to get made. Again, my humble, unsolicited opinion is that the problem was the script. More time should have been spent on her acceptance, her training, and the difficulty to acquire the targets. Morano and Lively put a tremendous effort and that needs to be recognised.
A pair of bikers show up in a remote Brazilian village, foreshadowing the massacre that isn’t far behind them.
What a concept! And its development is something else! Forget about the classic Hollywood narrative and character development. The built-up and the escalation have a Brazilian signature, one you haven’t seen before. The everyday people, the everyday problems, the everyday average corrupted politician… it’s all there. A brilliant antithesis to modern Hollywood films such as John Woo’s Hard Target (1993) or indie American ones such as Happy Hunting (2017).
Editing-wise, the extensive uses of swipes, dissolves, and flashbacks lead to a non-linear action and a pace that is messing with your mind; not knowing when it’s going to escalate or how it’s going to escalate. Add to that the “who is who” and what everyone is hiding and you get a mixture of Tarantino, DePalma, Carpenter, and Leone wrapped with Brazilian magic in two unforgettable hours! In a classic Hollywood narrative, every incoherence, inconsistency, and discontinuity stands out like a fart in a library. For some reason, watching a film like Bacurau, you pray for more of them.
Jordan, cheers for this suggestion mate! Hope to see you again before you start traveling!
Twelve strangers wake up in a picturesque, bucolic setting only to be hunted down by unknown people.
Hollywood is an entity. A living, breathing, evolving and devolving, existentially confused entity. Universal, one of the major limbs of this entity, has a long-standing reputation of daring, challenging genders and races. The Hunt is not an original concept but it’s a brilliant concoction of funny lines, vulgar language, and insults of all kinds, surrounded by gore! IMDb forgot to add comedy to the genres which purely is beyond me. The Hunt has the ability to keep on the edge of your seat while making you laugh. Extreme violence that does not disappoint.
Unfortunately, it was never meant to take off. Fate, destiny, goddamn bad luck? I don’t know and it doesn’t really matter anyway. Producer Jason Blum funds the amazing indie director Craig Zobel, who collaborates once more with writer Damon Lindelof in a one of a kind provocative, low budget, highly entertaining action/horror that caused significant reactions. It tried to come out last September but the mass shootings in the US prevented from doing so. Then, it was meant to come out a fortnight ago but the pandemic this time prevented from doing so. Universal released it on a DVD and on-demand anyway and we, the audience, are so glad about their decision.
Sit back, relax, try to forget for an hour and a half the tragic reality we are currently facing and… I dare you to guess who is the protagonist / who’s gonna make it out alive when they all gather in the field.
A soldier comes back from a mission, gets murdered, but is brought back to life with superpowers and now he seeks revenge.
I’m not going to slay it. The film suffered irreparable damage from the pandemic but was not going to perform well anyway. Director Dave Wilson is a VFX director and it showed straight away on his feature debut. The film’s narrative doesn’t flow and the editing, probably for production reasons, is trying to pick up the pieces and put them together. It didn’t even mimic or attempt to better the à la The Edge of Tomorrow (2014) repeat mode part to enhance and engage the audience with Bloodshot’s “nightmare”. Toby Kebbell’s and Guy Pearce’s charisma didn’t get the chance to shine at all as, once again, the narrative didn’t do anyone any favours.
Films like Bloodshot work as reminders that even if the original source is a best selling graphic novel (Valiant’s in this instance), this merely means that the respective film will be as successful. “Don’t judge a book by its film”, I read somewhere. It’s a shame, the film was doomed to take a big hit either way.
I would like to conclude by taking my hat off to the VFX department as they couldn’t have done it better and the result of their work is highly impressive.
A male nurse and a crook have to team up against corrupted cops and gangsters to protect their families.
Entertaining Netflix action flick with two amazing actors, buddies from Gangster Squad (2013) and the MCU. Anthony Mackie and Frank Grillo unite once more as hero and antihero respectively and spend 24 unforgettable (screening) hours together to get theirs and their families’ lives back. Netflix knows the recipe very well and does it once more. The addition of humourous elements adds to the joy and the fast-paced thrill makes your hour and twenty minutes fly by. Joe Lynch deserves the spotlight and I hope one day he really gets it as that’s the third film I’ve seen from him and I must say that his films are highly enjoyable. Worth mentioning are also: Everly (2014) and Mayhem (2017) – Good opportunity to re-watch them and review. Very well acted by both Mackie and Grillo who make an incredible duo.
Don’t fall for the negativity. Especially, in unfortunate and difficult times that all of us are facing at the moment, films like Blank Point make us forget how gloomy and nasty it is out there. Sit back, relax, and enjoy. And always stay safe!
When a young whistleblower becomes a target, the new generation of Charlie’s Angels team steps in to save her and solve a corporate conspiracy.
If I’ve said it once I’ve said it a thousand times… I don’t judge films, I judge their intentions. There might have been bad/horrible films which meant well but due to budgetary reasons or other unforeseen circumstances they faced issues. Not this one though! Charlie’s Angels is, unfortunately, undermining human intelligence. Despite Elizabeth Bank’s efforts to convince us that whoever doesn’t watch her film is sexist, the film itself couldn’t be more sexist. She tried to mitigate the successes of previous female-led films by saying that even them they were meant to be profusely for the male audience. Finally, even after her film flopped at the box office, and the critics ‘buried’ it (so no one finds it ever again), she was still proud of it.
I have nothing much to say about the film: Writer/producer/director/actress Banks and the rest of the producers prove that they have no knowledge of what real fighting or Krav Maga is. The same applies to spy games, corporate espionage, and the appreciation of the human (male) life – see how both men’s death is treated (excluding the T-1000 lookalike assassin). The action couldn’t be more laughable and the messages it is trying to come across are horrendous. To cut the long story short, this Charlie’s Angels rightfully earned its flop just like Ocean’s 8 (2018) did the year before. What were they thinking? That by portraying white men as villainous and stupid the film will instantly perform well? It is an embarrassment. And that’s me done about the waste of my almost two hours.
There is something else that the creators of this film have no grasp of: How it is to be stuck into a 9-5 job that you hate or do 24-hour shifts round the clock. One of the things they would have learned – which would be beneficial to the film as well – is that wherever there is no diversity, there is a problem. Have you ever been to a working environment with just women? The amount of bitching is unfathomable! Have you ever been to a working environment with only men? Plainly boring and dull! This world needs diversity and we all need each other equally to move forward. Furthermore, we all need to stop being proud of what we haven’t earned.
Elizabeth Banks is extremely talented both in front of and behind the camera and I will keep being a fan regardless. Watch her Pitch Perfect 2 (2015) and watch her in People Like Us (2012) to get an idea. It is a shame that she tried to please the masses and pretentious social media groups. Because even they didn’t care about her effort.
P.S. To the mindless side of Hollywood: Stop treating us like we are dumb. We know life better than you do!