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Title : Predator 2 Predator 2 genre : Science Fiction, Action, Thriller Predator 2 crew : Stephen Hopkins, Alan Silvestri, Peter Levy, Suzanne Todd, Lawrence G. Paull, Mark Goldblatt, Rick Simpson, Joel Silver, Jim Thomas, Jim Thomas Predator 2 release date : 8 October 19 1 0 Predator 2 runtime : 108 Minutes Predator 2 Crew : Stephen Hopkins, Alan Silvestri, Peter Levy, Suzanne Todd, Lawrence G. Paull, Mark Goldblatt, Rick Simpson, Joel Silver, Jim Thomas, Jim Thomas Predator 2 cast : Kevin Peter Hall, Danny Glover, Gary Busey, Rubén Blades, María Conchita Alonso, Bill Paxton, Robert Davi, Adam Baldwin, Kent McCord, Morton Downey, Jr. ========================ஜ۩۞۩ஜ==========================
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Ten years after a band of mercenaries first battled a vicious alien, the invisible creature from another world has returned to Earth—and this time, it’s drawn to the gang-ruled and ravaged city of Los Angeles. When it starts murdering drug dealers, detective-lieutenant Mike Harrigan and his police force set out to capture the creature, ignoring warnings from a mysterious government agent to stay away. Predator 2 1990 review : Very undervalued sequel suffering because of the first films success.
Los Angeles is imploding with mayhem as gang wars fill the streets, an under pressure police force try to restore order, but both parties have another foe to worry about, a Predator is in town, and he's about to up the ante.
Gone is Arnold Schwarzenegger, gone is John McTiernan, and gone is the jungle setting, so following in the foot steps of the ultimate beefcake movie that was Preadtor 1987 was an unenviable task it seems. Yet I personally feel that Predator 2 stands up to scrutiny as a fine entry into the sci-fi/action genre. Locating it among the urban decay of L.A. works real well, and pitting the Predator against a tough grizzled (but hardly giganticus beefcakeus) cop (Danny Glover) gives us a smart brains against brawn story. Also cutely is that director Stephen Hopkins and writers Jim & John Thomas have actually got the Predator cleaning up the streets of L.A., in fact another two hours of Predator hunt and kill tactics and crime in L.A. would have been completely eradicated! There is plenty of bloody snotty gore to appease fans of that persuasion, and it's nice to report that the characters on show do actually impact as part of the story.
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It has a fine cast that reads like a who's who of action films, Danny Glover (Lethal Weapon), Bill Paxton (Aliens), Robert Davi (Die Hard), Gary Busey (Under Siege), Rubén Blades (Once Upon a Time in Mexico) & Maria Conchita Alonso (The Running Man), whilst Kevin Peter Hall dons the Predator suit and suitably kicks arse again. It's not genius, it's not even ground breaking, but Predator 2 is a fine and entertaining genre piece that sadly seems to forever be undervalued on internet forums.
Who's Next? 8/10 When I was younger I always hated _Predator 2_. Rewatching it as an adult, I don't think it was fair how bad I thought it was. It's not that _Predator 2_ is crap, it's just that it's **so much worse** than the original (one of the 5 best movies ever made), that it comes across as such a massive disappointment. With fresh, or I guess more accurately, with more experienced eyes, I don't mind _Predator 2_ at all, there's actually a lot of stuff I like about it. It's still not a great movie to me, but I don't skip it when I'm doing a marathon like I would have once upon a time. It expands upon the Predator lore in some pretty cool ways, and the Jamaican Voodoo Posse inspired my Escher Necromunda gang, so I've wound up pretty 50/50 on the whole thing.
_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
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When an attack on the Kingsman headquarters takes place and a new villain rises, Eggsy and Merlin are forced to work together with the American agency known as the Statesman to save the world. Kingsman: The Golden Circle 2017 review : This _Kingsman_ sequel might not be an outright terrible movie, but it is a **massive** disappointment. Virtually every enjoyable aspect of the first movie has been either turned down to and unsatisfyingly low level, or blasted way the fuck up into the realm of off-putting nonsense. _The Golden Circle_ somehow manages to both underserve all of its elements, while still feeling far too long. A couple of good fights, nice suits and maybe a single laugh can be found throughout the movie, but it does not do the original one iota of justice.
_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._ This is indeed a silly, even childish at time, movie but to me it was also a really really fun movie to watch.
The movie starts by the Kingsman organisation getting screwed over royally by the psychopathic Poppy Adams which forces what remains of the organisation, all two people, to work with their counterpart in the United States. Just as the Kingsmen are parodies on the stiff upper lip British gentleman the Statesmen are parodies of the southern US gentleman (if you can actually call them that) only even more so. Maybe it is my European heritage but I personally feel the Kingsmen are fairly cool where the drawling Statesmen are more on the silly side.
Once again Eggsy is the main character although I have to say that I personally like Harry, the original Galahad, much more. He has much more charisma, elegans and smarts. Since he is portrayed on the movie posters I guess it is not much of a spoiler when I say that, to my delight, the rumors of his death were greatly exaggerated. Unfortunately Eggsy is sometimes quite cool and plays his British gentleman role quite well and sometimes he is just dumb as a doornail.
Poppy Adams is okay but she is bordering on the ludicrous too much for my taste. The we have a certain English artist, a Sir no less. I do not know how much they had to pay to get him to take part in this movie but I am fairly sure I would consider it too much. He was just silly as far as I am concerned.
The movie is of course loaded with gadgets, most of them of the variety that makes noises of varying levels of loudness usually resulting in one or more bad guys biting the dust. It is almost gadget overload but I really liked. Sometimes this amount of totally unbelievable gadgets is dragging down the movie more than anything but in this one it was mostly a success. To me Harry and the gadgetry is what makes this movie.
Given that I am originally from Sweden I have mixed feelings about Eggsy’s girlfriend and the Swedish royalties. I guess those parts were okay but I could have been without them as well. At least I feel that however wrote the scene with the “royal” dinner could have read up on Swedish etiquette. Knocking on a glass with your spoon, knife or fork means you are about to give a speech, NOT that you want the plates to be changed. A professional servant, and the Swedish royalty DO have professional servants, do not need to be told when to change plates.
The actual story is, well it is original at least but I would not rate it any higher than okay. It served as a vehicle for stringing together all the stunts and jokes so it served its purpose. The worst part of the story was that I was actually finding myself agreeing with the president. This might perhaps shock some people but I am sorry, if you are dumb enough to ingest that crap, which is also highly illegal, then I have no sympathy for you.
If you get upset about stupid plot details and plot holes then be prepared to be upset. There are plenty of them in this movie. To me it did not matter too much since this is not really a thriller or drama. It is a spy parody / comedy. Having said that it did piss me off a bit that this advanced organisation did not have brains enough to deal with the piece of equipment left in the London cab at the beginning of the movie. I mean, it was just soo obvious what would happen.
Anyway, on the whole this movie was great fun to watch. I hope we get another sequel. Perhaps one with a Japanese version of the Kingsmen? There ought to be plenty of cultural stereotypes to play on there.
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Essentially: 25 directors from all corners of the globe (plus one competition winner) were assigned a letter of the alphabet and tasked with making a short film - five minutes or so, give-or-take - relating to the letter of the alphabet to which they'd been assigned and to the subject of death (according to one of the entries - Adam Wingard's Q - they were assigned a budget of $5000 each although how true that is, I don't know). Beyond that, each director has free reign over what form their short takes. And that's it. There's no wraparound tale (V/H/S), no arcing narrative running through the stories (Trick 'R Treat), no recurring characters (Pulp Fiction) or motifs (Coffee & Cigarettes).
It should go without saying of course that this leads to wildly differing results, not only in terms of content but in terms of success as well. That's true of any anthology piece but it's even more acute here given a) the incredibly short time allotted to each piece and b) the "A, B, C..." nature of the film which prevents the film's producers Ant Timpson and Tim League from placing the shorts in an order that might build a momentum, leaving the best 'til last (in fact, the very worst comes last, of which more later). The bad entries - and there are more than enough - are SO bad that it almost derails the entire movie. As I said, last night having just watched it I felt very negatively about the whole experience. However, there ARE some good entries and even a few great ones, and... well, let's just go through them (I'm not going to name them by title since one or two titles - which are only revealed at the end of each short, not at the beginning - represent pretty decent plot reveals in their own right, so to print them here would constitute a spoiler. I'll just refer to them by their letter):
"A", "B" & "C" - The movie's off to a strong start with three Spanish-language tales from Spain, Argentina and Chile respectively; "A" kicking things off in start-as-we-mean-to-go-on gory fashion about a woman attacking her husband, the context around which is not given to us until the very end, "B" about a fairy tale that may not be as fictional as the protagonists suppose and "C" about a Twilight Zone-style time-travel paradox.
"D" - From Marcel Sarmiento (Deadgirl), this dialogue-free piece about a scuzzy backsreet illegal-gambling fight 'twixt a man and a ferocious Labrador (I know, I know, but trust me) is rightly garnering praise all around the internetz as the best piece of the bunch. That this short is in the same movie as some of the poorer later efforts is an affront to good moviemaking, really. It deserves better. At this stage, The ABCs of Death is absolutely rocking.
"E" - A slightly lighter, Creepshow-style effort here about a guy trying to rid himself of a rather persistent spider. Many of us can relate. Decent entry. We're in really good shape at this point.
"F", "J" & "Z" - I've lumped these together since they're all from Japanese directors attached to the Sushi Typhoon production company, and if that means anything to you then you'll know what to expect from these entries and whether you're going to love them or absolutely loathe them (there's little middle ground; it's essentially all latex-heavy "zany" super-bizarre splatter/humour. Ever seen any of Peter Jackson's early films? Bad Taste, Brain Dead and the like? That, x 10,000). Personally, I detested them. "F", by Noboru Iguchi, a man who used to make adult specialist fetish videos for the Japanese porn market (example titles: Real Beautiful Young Lady Stools: Lolita Lavatory and Beautiful Girl Excretion School, both of which point to some degree towards "F"'s subject matter) and about a girl who would rather inhale the... um, gases of her lesbian crush than those of a toxic volcano which has belched poisonous fumes into the air, killing everyone, was so shockingly poor - although my girlfriend laughed out loud at it - that even though it was the first truly weak entry in The ABCs of Death, it soured me and altered my stance on the film for the remaining duration of the movie. "J" - about what appears at first to be one man putting another off his stride by pulling funny faces - was easily the best and most restrained of these three, but it was still unimpressive. "Z" - by Yoshihiro Nishimura (Tokyo Gore Police), a highly-regarded writer/director and effects artist in Japan - is arguably the shittest thing I've ever seen. God knows what it's about, it's one of those sorts of films. What I CAN tell you is that there's a naked bitch shooting root vegetables out of her cunny at another naked bitch with a huge inflatable cock (complete with breadknife cock-eye attachment), whilst some guy apeing Peter Sellers' Dr. Strangelove character watches on. With his cock out. I'm making it sound miles better than it is, it's truly dreadful.
"G" - First-person-perspective film about a guy who goes surfing. From Aussie director Andrew Traucki, he correctly guessed that everyone would go over-the-top with their efforts and decided to go the other way. More thoughtful, gore-free, more contemplative. Unfortunately he went TOO far. It feels unfinished, and dull. Possibly the most forgettable entry in the film.
"H" - A bizarre live-action cartoon from Norwegian director Thomas Malling (Norwegian Ninja) featuring a WWII Allied forces bulldog falling for the wily charms of a writhing Nazi pussycat in a burlesque club. Cue eyes out on stalks and tongues rolling out of mouths like carpets in full Looney-Tunes style. Meh.
"I" & "R" - I'm lumping these together not because they're connected at all but because, to me, they're both similar inasmuch as they're clearly very well made and photographed, there is clearly talent here, but IMO they both represented wasted opportunities. "I", by Mexican Jorge Michel Grau, lacked sufficient context around its central image of a woman tied up inside an empty bath while a possibly apprehensive man injects her with... something. "R", from A Serbian Film's Srdjan Spasojevic about some sort of hulking prisoner whose skin when peeled by his captors turns into reels of film (I think) is obviously saying something to me in very blunt subtext, but I guess I'm too stupid to get it.
"K" & "T" - Two animated shorts, both toilet-related. "K" - a cartoon about a woman trying to flush a sh*t she's just taken - didn't do it for me at all although again, my gf laughed, but "T" - a claymation effort and the entry which won it's place on The ABCs of Death via a competition as opposed to being a piece entered by a director who'd been invited to participate - is surprisingly good, concerning a toddler's fears over graduating from the potty to the grown-up bathroom.
"L" - Powerful and disturbing entry from Indonesia, centering around sexual perversion and... um, performance, let's say. Some scenes - thankfully just off-camera - are among the most upsetting of the movie. Well made, glad I saw it, don't imagine I'll watch it again anytime soon.
"M" - Looking around numerous sites, this entry from Ti West (House of the Devil, The Innkeepers, V/H/S segment: Second Honeymoon) appears to have polarised people, some suggesting that it's one of the more powerful entries, it sticks with the viewer and it's typical (in the good way) of West's output; basically, nothingshappenningit'sallabitdullandthenBANG! All-of-a-sudden, a kick to the bags right at the end, others deriding it as lazy, and even an insult to the project. I agree with the former argument although I understand the latter, West's entry being easily the shortest of these shorts, and the most uneventful. If they really WERE given five grand each to make these films, Ti West must have trousered most of it. His piece could've been done on a fiver. Still, where some have seen that as an affront, I see it as pretty cool that the director can still pack the same trademark wallop on so very little. You'll note I haven't mentioned what it's about, but it's honestly so short that I can't; to say anything at all is to spoil it. Um, a woman needs to use a plunger. How about that? That's as much as I'm saying.
"N" - A comedy piece centering around a parrot that won't shut up - ever seen that episode of Frasier where Niles' parrot won't shut up? Same shtick here, pretty much - from Thai director Banjong Pisanthanakun (Shutter). Light and undemanding, not a great piece by any means but a welcome bit of relief that for once has managed to BE light without being zany or bizarre.
"O" - I'm going to "spoil" this one since it has no discernible plot as such anyway: "O" is for "Orgasm", and it's a waste of time which most closely resembles one of those pretentious and abstract perfume commercials that clog up the TV around Christmas time. I fully expected someone to growl "Chanel. Eau de Parfum" in voiceover at the end. Rubbish.
"P" - Dialogue-free, quick-cut, gritty and well shot piece from British director Simon Rumley (Club le Monde) about a woman doing... well, what she needs to to pay the bills. Ooh, my girlfriend didn't like this one.
"Q" & "W" - Two "meta" entries, both concerning the tribulations of the directors themselves as they struggle with what to do as the subject of their short film for The ABCs of Death. And they couldn't be more different, Adam Windgard's (You're Next, V/H/S segment: Tape 56) "Q" being a light, self-deprecating and humourous tale of Adam's attempts to "actually" kill an animal on his segment, and Jon Schnepp's (Metalocalypse, from [Adult Swim]) "W" being, well, an absolute mess. In fact, sod it, I'm going to spoil this one too; "W" is for "WTF", and I suspect that's because the director f*cked up his random collage of goofy splatter images so badly that even he couldn't make hide nor hair of it by the end. Coming as close to the end of the film as this does and in tandem with the similarly unwatchable "Z", these shorts are what sour the film almost irretrievably, and probably explain why I was so very negative immediately upon having seen it.
"S" - From British director Jake West (Doghouse), what appears to be a purposely retro, washed-out, poorly-acted car chase involving Death himself becomes... something else. I really liked this one, once it had played out. Very good.
"U" - A final-reel fight scene told from the monster's perspective, made by Kill List director Ben Wheatley and reuniting Kill List stars Neil Maskell & Michael Smiley. Nothing wrong with it but I came away disappointed anyway. That was probably down to my expectations for this one though.
"V" - from Canadian writer/artist Kaare Andrews, and you can tell that this man specialises in superhero comic books. Another mis-step, this one, although this time it's an honest mistaken attempt to make his micro-budget spread over an ambitious futuristic action sequence featuring robots, mutants and Robocop-sized gunplay. At least it was a stab at something substantial, though. Too many of these directors just decided they couldn't tell a tale with the time/budget restraints, and went bizarre/abstract instead.
"X" - From French director Xavier Gens (Frontier(s), Hitman), this is a brutal, grisly and memorable piece about an overweight woman, mocked constantly for her weight (or at least, perceiving herself as being mocked; whatever they may think, grown adults aren't generally as in-your-face cruel as this womans tormentors are as she commutes to her apartment), who decides that she really wants to lose weight. Like, NOW.
"Y" - From Jason Eisener (Hobo with a Shotgun, a film I thought was great the first time I saw it, a little tedious the second time and just poor the third time), this really pretty good dialogue-free tale of a creepy school janitor with an unhealthy interest in the young boys within is marred for me by the same purposely retro red/green saturated lighting and hokey eighties synth soundtrack which served initially as such a successful parody/homage in Hobo with a Shotgun but which was maybe SO effective that it ended up being hard to tolerate. In this short, these things just detract from what is, as I said, a decent tale.
Phew! Well, there you have it. A very mixed bag of a movie, and ultimately I think one who's ambition overstretches its limited reach. 26 tales is just TOO much, both for the filmmakers who can't do enough with the time allotted AND the viewers, for whom 26 shorts - some incredibly grisly, some in shockingly poor taste - represents a trial of endurance. Because of these fundamental flaws and because of the numerous meh-to-poor-to-absolute-dogsh*t short films on display here I can't possibly mark The ABCs of Death too highly, but because of the superior, more memorable pieces I nevertheless have to recommend that you see it for yourselves. At the very least, if there's something you don't like there'll be something completely different to look at in a few minutes. “Horrible just horrible”
Basically this movie was made with the help of 26 alphabets in English each alphabet will make a way a person dies. In each of the 26 movies all were disgusting, horrible, filthy and complete nonsense. Talk about people dying due to farts, poop or by masturbating. Some scenes literally made me vomit. There was not one movie out this bunch of short films which was interesting or made some sense it was like this movies were made by directors who were drunk. I just wanted the movie to get over and I highly regretted that I watched it. If there was rating below zero I would have given that.
Won’t suggest this movie to anyone please stay away from this.
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In the near future, a weary Logan cares for an ailing Professor X in a hideout on the Mexican border. But Logan's attempts to hide from the world and his legacy are upended when a young mutant arrives, pursued by dark forces. Logan 2017 review : **LOGAN REVIEW: THE WOLVERINE GETS A SUPER SEND-OFF**
"Owing to its agitated hero’s misfortunes through the ages, this is a film that’s acutely aware of the dangers of emotional exploitation, and it spares its audience a similar fate. With Logan, Mangold and co-writer Scott Frank tell the definitive story of the Wolverine, in an involving and deeply satisfying series finale. It shows the fate of mutants when age starts to weary them, with stakes that feel real, and empathy that’s earned."
READ THE FULL REVIEW AT SBS MOVIES: http://www.sbs.com.au/movies/review/logan-review-wolverine-gets-super-send There may be some fine performances in this movie, but I honestly think the critics overrated this latest entry in the X-Men saga. The performances of Wolverine and Prof. X by Hugh Jackman and Patrick Stewart are extraordinary. They create a believable and loving father-son bond between their characters, with Logan caring for the ninety year old leader of the X-Men after a horrible event occurs at the Xavier school the year before. Stephen Merchant takes over the role of Caliban from Tómas Lemarquis, who played the character in X-Men Apocalypse, and transforms him into an ally to Logan and Charlies. Merchant is quite good in the role. But what really dragged down the movie is its nihilism. The other X-Men are completely missing from the film and mutants have been wiped out almost completely. A sense of doom and hopelessness looms over the film. This movie completely upends the warm and hopeful epilogue of Days of Future Past, where the X-Men were restored to life and glory and mutants weren't extinct after all. Death seems to stalk Logan and Charles wherever they go. There is also a conspicuous lack of significant female characters in this movie, too. The only female of note is Laura/ X-23, and she spends most of the film mute. There is also a complete lack of any strong or memorable villains. No one ever reaches the level of greatness like other X-Men villains such as Magneto or William Stryker. So, despite some good performances, this film is a bit overrated and also a little too bleak and depressing for my taste. One of the best and most mature Marvel movies to date.
The first half of this movie is a huge delight and a huge thrill. Hugh Jackman and Patrick Stewart are so entertaining to watch as characters they've known for 17 years. They've taken their characters a step further here in a script that allows them to explore themselves emotionally more than ever before. This movie is strictly part-drama. Yes, that's right. Finally, a Marvel superhero movie you can confidently stamp the drama genre tag on.
The effects, stunts and gore are really quite shocking. You can really feel the weight of each character's immense power, and more importantly, the struggles that come along with them. This further fleshes out each character.
The movie starts to lose the enjoyability of its ensemble halfway through, and what happens after is what you might expect from a typical X-Men film. Action, sci-fi and more action/sci-fi. The villains are as interesting as they can be I suppose. They lack much development but are there to fuel the real story. Anyway, I can't say much else without spoiling the plot. I'll just say that I wish the movie would have taken a different direction. If you don't like superhero movies, this is the superhero movie for you. And if you do like superhero movies? Watch _Logan_ anyway. It's bloody brilliant.
_Final rating:★★★★ - An all round good movie with a little something extra._ **** This review may contain spoilers ****
We finally get the Wolverine we have been asking for, for the past 15 years and it's his last time. Well, I guess he couldn't have ended it in any better way as a last farewell to the fans and his signature role. Not only that but it looks like this one blows all the other superhero movies out of the water. **A farewell and a welcome!**
A perfect farewell to the only mutant who had solo films in 'X-Men' franchise. I never understood 'X-Men', I thought it was the worst superhero film series I've ever seen. But 'Wolverine' was the only reason I watched them all and particular, Hugh Jackman. There won't be Logan now onwards, though a set of new generation welcomed in this film, while saying goodbye to the old guys. So now what happens in the future of this franchise is a very suspense. Yet Logan had been the precious gem in the crown of 'X-Men', that mean it won't be the same anymore.
After many years passed in the future, the last survivours of mutants hiding their identity and living among the humans. Logan and two others were attacked by the armed men when he decided to help a child mutant. Running away from them and looking for a place where they can be safe prioritised in the narration. More dramatised film in the franchise, but there are enough actions those who desire for that.
It's an emotional time for the hardcore fans of Logan/Hugh Jachman. One final great performance by him and the little kid was also good. A well shot film, with minimum graphics and more realistic stunt sequences. Well, not all were real, too strong fights, too bloody, despite having a child actor in it. Yeah, it is a good film, I liked it, but not a masterpiece as you might have heard of. But anyway, it is a must see for the 'Wolverine' fans.
_7/10_ I believe that I am about to disagree with quite a few people now. You see, I did not like this movie.
Not that this came as much of a surprise to me. What I got was pretty much what I expected. From a technical point of view the movie is quite well done. Hugh Jackman and Patrick Stewart are doing good jobs as always. The action scenes are good. The cinematography is not at all bad. If you are into tragic drama and do not mind the super hero twist of the movie then this is a movie for you. The technical qualities is why this movie gets any stars at all from me. If I would judge it by story only then it would have gotten zero, null, nada, nicths, rien, ingenting.
For me it was depressing, boring and not at all fun to watch. The only reason I watched it is because I, as a X-Men fan, simply had to watch it as well as having it in my collection but I would have been happier it this movie had never been made.
Wolverine is more or less an unpleasant drinking bum clad in filthy ragged clothes. Professor X is half insane and apparently dangerous to himself and the people around him. We get absolutely no explanation as to how this sad state of affairs.
The entire movie is dark in spirit with the X-Men all but died out and Wolverine and Professor X just waiting to die. Then in comes this female child who later turns out to be a female version of Wolverine. She pretty much lacks any form of charisma and she and Wolverine spends almost the entire time in a state of conflict, much due to Wolverine who seems to think everyone should go fuck themselves so that he can continue to self destruct.
The bad guys are the usual evil corporation doing experiments on X-Men, genetics etc. Supposedly they were behind the almost extermination of X-Men but of course they keep their own little army of “enhanced” humans that doggedly harasses Wolverine & Co. There are some nice action sequences but there is really no good overall boss. No one with enough Charisma to take the role of the main adversary unless you count X-24 who only took part in a few parts of the movie.
By the way, why the fuck do Wolverine, Laura as well as X-24 have to grunt like horny monkeys when they fight?
The story is rather predictable with no major surprises, little depth and low on logic. A typical Hollywood drama. Not really anything to write home about.
The movie is just so depressing from start to finish. As a last farewell to Wolverine and Professor X it is almost insulting. I know a lot of people seem to like it but I cannot understand why. At least not if you are a X-Men fan. The Last Cut Is The Deepest!
Did we need another X-Men movie? In fact did we need another Wolverine movie? Well the result is there for all to see, with Logan not only showing itself to be undoubtedly the best Wolverine venture by far, but arguably the best X-Men picture as well. If, as expected (and surely to god it's hoped so), this is the last we see of the grumpy metal clawed superhero, then what a fitting and triumphant bow out it is.
James Mangold, the director, has managed to create an adult superhero movie without it really being a superhero pic, for he has created a film noir Western that happens to be about a superhero. Mangold's love of noir and Westerns bursts from the screen, which for those who follow those wonderful stands of cinema, will come as no surprise having seen with notice his Copland and 3:10 To Yuma redux. There's a perpetual grimness to the narrative that belies the quite often stunning surrounding locales, heavy themes such as men out of time - with destinies written (cue a deft comic book movie within a comic book chunk of metaphysics) - surrogates, mental illness, human ignorance, and on it goes, the narrative strong on intelligence as much as it is in wrought emotion. Western fans will also be buoyed by the part that the 1953 classic Western Shane has to play in things, considerably so as its importance narratively, orally and visually is mightily strong.
Logan's Run!
Ah yes, well being "adult" is all well and good, but is Logan thrilling? Do we get pumped up Wolverine action, blood brains, splatter and mucho muscle flexing and pained roars of anger? Oh yes! Action from the off is never far away, and wonderfully staged and choreographed it is. Lots of memorable set-pieces, while also some cleverly constructed sequences such as Xavier's mind seizures hold court and enthral. Yet the kicker with all that is we are clued in to the emotional baggage that the side-burn sporting protag carries with him. With each fight we sense the bigger picture, even as we watch in awe the emergence of Laura (ironic film noir name right there as it happens) - and her part in this very "human" story - the thrills and spills are propelled by a meaningful but battered heart.
Tech credits are superb. Acting honours go to Jackman, who after giving 17 years of his life to the character, gives it his all and this multi faceted performance, in a perfect world, deserves Oscar recognition. Patrick Stewart, also, is immense, playing the nonagenarian Charles Xavier with such class, gracefulness and storming emotion that one can only admire. Film debutante Dafne Keen as Laura is utterly engrossing, quite a debut indeed, whilst Stephen Merchant as albino mutant tracker Caliban is effective to the point we hanker for more. Although the villains fronted by Boyd Holbrook (rote henchman leader) and Richard E. Grant (smarmy scientist git) just about pass muster, there's nothing to damage the piece. Cinematography (John Mathieson) is "A" grade, the filters set on neo-noir, with the splendid film noir black and white version a fillip for the heart of noir lovers. All that is left is for the sound mix to boom and the director to steer with heart, brain and soul, without doubt both come up trumps.
One of 2017s best films, a genre splicer that ticks all the boxes of great film making. 10/10
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Title : Soul Soul genre : Animation, Comedy, Drama, Music, Fantasy Soul crew : Trent Reznor, Bobby Podesta, Steve Pilcher, Pete Docter, Pete Docter, Pete Docter, Atticus Ross, Dan Scanlon, Michael Yates, Jon Batiste Soul release date : 1 December 19 2 7 Soul runtime : 102 Minutes Soul Crew : Trent Reznor, Bobby Podesta, Steve Pilcher, Pete Docter, Pete Docter, Pete Docter, Atticus Ross, Dan Scanlon, Michael Yates, Jon Batiste Soul cast : Jamie Foxx, Tina Fey, Ahmir-Khalib Thompson, Phylicia Rashād, Daveed Diggs, Richard Ayoade, Graham Norton, Rachel House, Alice Braga, Angela Bassett ========================ஜ۩۞۩ஜ==========================
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Joe Gardner is a middle school teacher with a love for jazz music. After a successful gig at the Half Note Club, he suddenly gets into an accident that separates his soul from his body and is transported to the You Seminar, a center in which souls develop and gain passions before being transported to a newborn child. Joe must enlist help from the other souls-in-training, like 22, a soul who has spent eons in the You Seminar, in order to get back to Earth. Soul 2020 review : If you enjoy reading my Spoiler-Free reviews, please follow my blog @ https://www.msbreviews.com
Out of my Top15: Most Anticipated Movies of 2020, eight were removed from this year's schedule due to the current global pandemic, so I didn't have that many films for which I felt incredibly excited. I love pretty much everything that Pixar puts out, and at the start of 2020, I noticed that the studio was releasing not one but two original animated movies, something quite uncommon in their history (only happened in 2015 and 2017). Onward was yet another success, but everyone knew Soul was the studio's big gun. December release date means better chances to win an Oscar, and the highly anticipated return of Pete Docter (Monsters Inc., Up, Inside Out) to the director and writer's chairs also elevates the film's expectations.
I'm no different. My expectations were high as the sky, but the main question in my mind wasn't really if Soul was going to be a great movie, but if it would be so good I'd love it more than Wolfwalkers, my favorite animated flick of the year so far? Well, let me write that it's a wonderful, beautiful, heartwarming tie. I love them both very much, and I wouldn't be surprised if I saw them in my Top10. However, this is Soul's spotlight, so let me get to it, and spit out the only minor issue I have with the film. During the first act, I couldn't feel a connection to the story nor the characters. It took me a while to really get fully invested in the narrative, and even technical aspects such as the animation style and the score (Trent Reznor, Atticus Ross) felt weirdly out-of-place and surprisingly not that enthralling.
Nevertheless, this slow, unconvincing beginning doesn't negatively impact the movie overall, as most of these apparently awkward components improve as time goes by. From the moment it clicked with me, I went on that emotional rollercoaster I always expect to ride in a Pixar feature. The studio is known for its extremely heartfelt, shocking, tear-inducing third acts, and even though Soul isn't an exception to that rule, it's far from being one of those mind-blowing, jaw-dropping, devastating final minutes. Its third act is astonishingly emotional, and it sends a lovely message to the audience, one that made me reflect on the entire year and a specific moment in my life.
Pete Docter, Mike Jones, and Kemp Powers explore the taboo subject of life's meaning in a predictable yet profound and entertaining manner. The approach on philosophical questions like "what's my purpose?", "what's my spark?", or "what does it mean to have a soul?" is cleverly developed and very well-written. There's a sequence with the protagonist near the end that will make tons of viewers experience it simultaneously. I found myself rewatching this scene in particular to help me remember a certain period in my life where I realized that what I thought was my destiny was, in fact, just one of those life passions that leave us with unforgettable memories.
I was able to deal with that moment pretty well, but many people lose themselves once they figure out that what they thought they were meant to do/be isn't really what the future holds for them. They become lost souls, and only a spark of life can revitalize them. Soul explores this matter in such an authentic, genuine, creative way that I couldn't help but cry as I do in every Pixar film. Watching Soul will make you appreciate life a lot more, especially those tiny, little moments that we forget to remember. Living, with all its horrible phases, is the best life experience anyone can have. After a year of isolation and separation from the people we love, this movie arrives at the perfect time.
Technically, the animation style and score didn't convince me in the first few minutes, but by the end, they're part of the key aspects that made me cry like a baby. Trent Reznor and Atticus Ross are starting to become two of my favorite composers (The Social Network, Gone Girl, Mank). Pete Docter proves that his undeniable talent behind the screen remains intact, and this time, he introduces Hollywood to the debutants Kemp Powers and Mike Jones. Jamie Foxx and Tina Fey (22) deliver some terrific voice work, so expect them to receive dozens of nominations. Finally, congratulations to every single artist that worked on this film's animation. These gifted people are the real stars of Pixar.
All in all, Soul is everything I expected it to be. A classic Pixar feature, with the trademark emotionally powerful third act; a heartwarming, sweet, tear-inducing score; and a relatable, profound, well-explored story about our own soul and the meaning of life. Pete Docter delivers another award-worthy flick with the help of Kemp Powers and Mike Jones, and with the outstanding voices of Jamie Foxx and Tina Fey. It may start slow and follow a predictable path, but it's only a matter of time until every viewer connects with the main characters. Soul surpasses the barriers of cinema, becoming a healing media from which people can take away so, so much. It works seamlessly as a reflection on life, and as a motivation to truly live every single moment of it. It's the ideal movie to watch on the morning of Christmas Day with the entire family cozy and warm in the living room. I promise you: it will make you enjoy this festive season a lot more. Undoubtedly, one of the best films of the year.
Rating: A This is my favorite Disney Pixar movie, even beating Monster's Inc!
There wasn't a minute where I wasn't enjoying the movie, there's very powerful meaning to this movie (that will go over kids' heads) and for once, it (in my opinion) tackles an issue big with teens and adults more than kids (at least more than usually).
The movie's message is (from what I understood it anyway) about anxiety, sadness, and fear of how you choose your life path. Even going as far as showing how you're so-called purpose in life may not even be correct (or real to begin with).
This is by the creators of Inside Out, which gave really good messages across about feelings. It was more kid-oriented, so Soul (in my opinion) being more about teens or adults was a surprise that I did not expect. I'm not saying this isn't a kids movie, I'm saying you shouldn't avoid it if you're not a kid.
It probably helps this movie that it's got it's messages across with Music as an instrument (get it?), as I too love music heavily including all kinds of genres (seriously, if you saw my YouTube music history you would think I'm somewhere between a 5-year-old girl, to a 101-year-old Beatles fan).
I seriously recommend giving this one a watch. In a year where most of us have been trapped indoors, the timing of 'Soul's' release can be seen as either a blessing or a curse. For some, it will act as a calming balm for a tough year; the perfect vehicle for inducing a good cry. Others, on the other hand, may reject it as yet another unnecessary mirror held up to their biggest fears exacerbated by a year where living with perceived “purpose“ has been near impossible. No matter which side of this you fall on, 'Soul' implores you to find beauty and gratitude in your circumstances. There is no doubt that is by far the best film Pixar has released in years - possibly even this decade. - Ashley Teresa
Read Ashley's full article... https://www.maketheswitch.com.au/article/review-soul-pixars-finest-work-in-years Soul is the latest effort by Disney Pixar, a beautiful and wonderful film that will leave anyone to ponder about life, its value and the magic inherent in existence.
The film tells the story of a man who accidentally falls into a ditch and "dies". However, he does not accept his death and begins a journey into his own afterlife until he is able to reunite with his body, in a coma on earth.
For a children's film, Soul is surprisingly deep, perhaps even too deep, especially for a child. The film touches on various existential themes, from purpose to the meaning of life, and will make us lose ourselves in thoughts about our own life.
The characters are a marvel, especially the protagonists, because they are complete with complex layers that give us all kinds of feelings. The voices that bring them to life do an excellent job in making all the emotions that pass through them appear.
When it comes to animation, once again Pixar exceeds itself and brings us a film that is a living work of art, each frame a beautiful picture of colours and movement that extends for two hours. It's really magical to see life on the small screen, the realism in some of the scenes will leave the audience really amazed.
The smaller ones, however, may not understand the complexity of the film, and I don't feel that this is exactly the most entertaining film that will make them pay attention in 100% of the scenes, much due to the fact that it is not necessarily as energetic as many of the most watched animated films in recent years. It is, however, a valuable lesson that is present in the film, and letting children try to understand it will be the right choice to make when viewing Soul.
All in all, this effort by Pixar is worthwhile, wonderful, beautiful and moving. The truth is, I found myself reevaluating my whole life and pondering the fact that time is money, because time is life. Really good watch, would watch again, and can recommend.
I'll have to admit, I went into this thinking it would be Disney's yearly racist progressive attempt, so the bar was pretty low.
The movie is actually delightful, and shockingly deep. The title indicates it has to do with the human soul, so I was expecting something along the lines of "Inside" or having to do with jazz, and while it has a rather nice combination of those two things, the attempt on the deep inner workings of the universe in the "inbetween" is incredible.
I imagine everyone will have their own interpretations of what the movie represents mechanically, but the story itself focuses on the pursuit of dreams and happiness combined with the experience of life.
The movie animation is fantastic and the voice actors are all top shelf. The story is awesome, and the characters are strong, deep, and interesting. I find it hard to believe that anyone would actually not like the movie.
The structure is a little basic for something so fantastical, but I think that's by design to keep appeal to most audiences that expect a general family Disney format. Pleasant film.
'Soul' didn't connect with me on any deep level, but it is an undoubtedly sweet film. It attempts a lot of heart and I respect that. Jamie Foxx has been in some of my favourite films and he is good as Joe here. I also like the casting of Graham Norton as Moonwind.
One thing that probably stopped me thoroughly enjoying this is the animation and character design, particularly when in the "Great Beyond". It's not that it looks bad, or anything close, but I just found it a bit too plain. I never felt attached to any of the characters or settings there. I did, though, enjoy the sounds and music, especially in the aforementioned afterlife area. They do do that nicely.
It's definitely a good film and one with a nice and honourable message, I just needed that something extra to enjoy it more personally.
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