Lol Rocky IV is last? I’m suprised, most people put V last. I have seen up until four about to watch five. I heard it was mildly depressing. But I do agree and think Rocky II is my favorite. I also really like III because Apollo and Rocky’s friendship is awesome and wholesome. I liked IV and Drago but I could see Apollo’s death a mile away.
God the fucking Domestobot! Forgot about that, thats another reason why it is lower for me, that was out of fucking nowhere.
I’m thinking the new Spider-Man movie is the best Spidey movie, probably the best Marvel movie, and definitely one of my favourite movies of the year
I saw it in 3D on a preview screening so the room was deathly empty, such a shame, but 3D really is the only way to see this movie that does it justice
the silliness (if you’ve seen the trailers you’ll know) is a bit of a turn-off for me but it also gives the movie some charm
go see this
Just watched Spiderman Into the Spiderverse movie on release day and I have to tell you, it was awesome. The animation, the visuals, the chemistry, I was blown away by it. There were particular scenes that literally made me snicker, especially the post credit scene! I would definitely recommend this movie! Would watch the sequel!
I watched The Meg last night. It’s no Jaws, but it’s pretty good, and I still think Jason Statham would make a decent 47 if the movie took itself seriously (but, of course, it wouldn’t; they’d have him spin-kicking targets through windows and tearing off his shirt and tie at every opportunity, showing off his ripped physique and getting Diana all flustered. Because … Hollywood. lol)
I just watched Mechanic:Resurrection (2016)
Even though I am bored of Jason Statham movies,this one had “HITMAN” written all over it , that made me really enjoy it!! Silenced pistols , target briefings , accident kills(amazing execution at a skyscraper pool) and even disguises kept my interest to the easily predicted end Jessica Alba plays “the girl” and there is a handful of locations all over the world to provide various assassinations!!I think every fan of Hitman will have fun watching this movie.
Just got back from:
…and I absolutely adored it.
Just for frame of reference, I think the first Transformers movie was the best one of the Bayformers, and even that is not very good.
The Bayformers movies are, in my opinion, bloated, filled with crass and/or stupid humor, and to top it off they contain terrible transformer-designs and unclear action. Oh yeah, and they lack heart.
Bumblebee was… exactly not that.
The Transformers designs were perfect. The action was clear. It had loads of heart, and it’s well written and clever/sublte as well. It borrows a lot from E.T. to be sure, but it still manages to be its own thing.
Hailee Steinfeld’s Charlie was a great protagonist with a nice little story going on for her.
At first I was kind of confused about Charlie’s father’s death. It just seemed mundane for him to die of a heart attack. then I saw the scene with Charlie basically using a defibrillator to save Bee and it all made sense to me.
Great 80s soundtrack and 80s references (it’s set in 1987 so it’s not exactly unexpected, but I liked the 80s nostalgia a lot).
Just… I loved it. It reminds me of a classic old 80s adventure flick done with modern tech.
If you’re a fan of the OG Transformers cartoon, and want a great little flick that really shows that it loves that source material: Do yourself a favor and go see Bumblebee.
I hope this acts as a prologue for a proper reboot. Just keep it in the 80s and keep the ball rolling.
… a haunting, gripping thriller/murder mystery/drama.
A rape / murder happens in a Native American reservation in Wyoming, and Cory Lambert (Jeremy Renner), who is a hunter specialized in predators, is drawn into the investigation, helping FBI agent Jane Banner (Elizabeth Olsen) to find out what happened.
The movie is written and directed by Taylor Sheridan, who previously wrote Hell or High Water, as well as both Sicario movies. This follows suite I think. A great movie.
Great score by Nick Cave and Warren Ellis. It reminds me a lot of their score for The Proposition (another great movie). It is poetic, bordering on meditative.
I’m a big Jeremy Renner fan. I’ve liked him since S.W.A.T. and The Town. Even though he’s not a flashy actor, he has an understated and masculine charisma that I find quite charming and relatable.
Saw this a couple of months ago and my thoughts echo yours. Excellent flick.
Just watched: SPIDER-MAN: INTO THE SPIDER-VERSE
Produced by Phil Lord and Chris Miller (THE LEGO MOVIE), SPIDER-VERSE follows the Lord and Miller mantra of mash ups that says there should be an element of self awareness, such as when one of the Spider-Men correctly predicts that Kingpin’s response to a warning about the dangers of inter-dimensional rift opening is “You have 24 hours to fix this”, and while the film has a surprising dose of heavy drama and dark themes, it carries on with a sense of action figure playtime that is bound to translate to a good time at the movies.
At the surface it’s easy to dismiss the writing as shallow and that we’re going to see a kid getting bitten by a radioactive spider and a lot of things won’t be explained because it’s a stupid comic book movie.
The surprise is that it seems the directors Bob Persichetti, Peter Ramsey, and Rodney Rothman all know how “stupid” the movie is supposed to be and actually embrace it. Instead of needlessly changing the origin of yet another Spider-Man to try and be original, Lord, Rothman, and company choose to weave it into a personal moment for young Miles Morales when he’s trying to break expectations.
Expectations is a big theme of this film and its story. It homes in on a concept of tying Spider-Man’s classic motto and showing how it works into and against the expectations of parents, friends, neighbors and peers. This is the film’s path to originality and is the source of tension throughout the whole film.
Miles Morales’ real enemy isn’t the Kingpin, it’s the pressure and fear of the responsibility his powers have given him of not letting other people down even if at first it may seem like acquiring the powers will give him a chance to escape the expectations of ordinary life.
Beyond this serious core, the film is wrapped in knowing tongue-in-cheek gags and characters work almost entirely in character with the only real character development reserved for Miles, and his father.
In a second orbit are Gwen Stacy/Spider-Gwen and a “Peter B. Parker” who isn’t quite who you might expect him to be - again in keeping with the “No Expectations/Great Expectations” theme of the film.
Everyone and everything else moves as if culled from lesser story arcs and lesser films knowingly assembled to support a whole that is more than the sum of its parts.
Rather than basing the film firmly on the actual Spider-Verse comic book run by Marvel, characters both good and evil from different sets of Spider-Man books are instead joined together with little regard for in-fiction hard logic, but more in reverence to what versions of such characters might occupy the shelves of a loving collector of Spider-Man figures and toys, each given a unique background and personality by a loving fan with a story to tell.
Even the animation seems to have a varying frame rate that bumps and starts. Some parts rendered with very aggressive frame skipping and other parts with flowing and smooth movement. One time there’s text on the screen in boxes just like comic book panels. Then later on there is no text at all and we’re left to read what characters are feeling by actually having to look at them.
Character reveals are sudden. Plot points are read out loud by characters within seconds to move the pace along. One of the Spider-Men has a lair to rival Batman’s Bat-Cave with Aunt May serving as some odd version of Alfred.
The disruption extends even to the by now expected post-credits scene which totally flips the idea of having one on its head and is done almost to the point of self-parody.
All of this happens without explanation, but just when you’re thinking how dumb, crazy, and zany the movie is it goes back to that core and breaks expectations again and by doing so it just manages to exceed them.
You know a year ago those animators were probably working on the Emoji Movie. Now they have made this and it is good.
Everyone should see it and when I say I enjoyed a superhero movie it means you should go and see it now!
I just watched a Netflix original called Close. It got like a 5.5 on IMDB but I decided to ignore that because I like Noomi Rapace. I thought at least it might have some good action scenes even if the story wasn’t great but no. It was a drag to watch from start to finish and I do not recommend anyone waste their time watching it.
Thanks for the warning. I like Noomi Rapace, too, so I might’ve watched it.
Just Watched: BUMBLEBEE
Back in around 2006, I was in an official (because it was formed by one of the producers) yet unofficial (because Michael Bay didn’t approve of our existence) focus group brought together to give initial feedback on a film in-production at the time called TRANSFORMERS.
The film was due out a year later and the group was almost entirely comprised of people who loved the original 1984 series and the 1987 animated film. We were given bits of the story in a rough outline. Seen early renderings of characters. There is a lot that can be said about that period, but the overall group anxiety was summed up mostly as: “Doesn’t look like 1987”.
The argument of those in charge at the time was “It’s not possible to make it look like 1987”. The entire IP was in an odd place. The Transformers toyline occupied a mere corner in toy stores and in many instances was not even visible. Many kids didn’t know what Transformers was anymore, and many of the old folks didn’t care about it then and cared even less about it now. There was no impetus to pay homage to anything. Rather, the opposite was true. From Hasbro to Paramount, the main preoccupation was not to revive the old aesthetic or the old formula of the “lapsed” version of the IP, but to come up with something new for “modern audiences”. There’s nods here and there but that was all we were getting. The robots couldn’t have full dialogue scenes “like characters” we were told because confidence in such a lapsed property didn’t merit a bigger CGI budget. In those heady early days everything referencing the old version was debatable including Optimus Prime’s knight-inspired ninja-like mouth cover plate.
Fast forward 5 films later and it’s all change. Transformers toys are now everywhere, not just in stores, but also in Hasbro’s stockholder briefings. The toyline was responsible for a 21% sales jump in 2017 for Hasbro and a 50% surge in its share price. Characters from the movie franchise became household names once again. You know things have changed when you’re watching a news telecast about a comet or some other strange phenomena in the sky and some random person says “The Decepticons are coming!”.
And yet, when the fifth Transformers film from director Michael Bay, TRANSFORMERS: THE LAST KNIGHT - admittedly the most experimental (what plot?) and most deviating rendition of the property to date - failed to match the performance of its predecessors, it now appeared the circle was complete. This time it was the aesthetic and tone set by the film series that was considered in need of changing and Michael Bay stepped down as director.
The result of this cumulative chain of events is 2018’s BUMBLEBEE directed by Travis Knight (KUBO AND THE TWO STRINGS), a skilled director in his own right, and outspoken fan of the original 1984 series. The best way to describe the film is that while it hews much more closely to what core fans of the 1984 original might have wanted, it does a lot of things of its own and Travis has somehow avoided the trap of slaving himself simply to his own fan wishes, instead rooting BUMBLEBEE into a more Amblin-like direction that occasionally tips the hat to that 1999 animated film classic about the relationship of a child to a powerful alien robot, THE IRON GIANT. In one of the ultimate statements appealing to the property’s core fandom, the movie is a period piece set in 1987, which was the peak of Transformers’ popularity in its earliest guise.
But it isn’t all change this time around, unlike what happened with Sony’s THE AMAZING SPIDER-MAN (2012) which completely ignored and goes on its own continuity versus Sam Raimi’s 2002 SPIDER-MAN film, self-styled pyrotechnic auteur Michael Bay still serves as BUMBLEBEE’s executive producer. His continuity was to be respected - at least for this film.
This state of affairs clearly shows in the finished product. BUMBLEBEE references things and re-tells them just as a reboot however soft or hard is meant to do, but unlike previous such films, it is not allowed to explore expected pay offs. You can’t get the “5 vs 5 big robot fight” in the end because that was supposed to happen in 2007. The bad robots of the film talk about scalping the leader of the good robots sent on the run, but their own leader is nowhere to be seen because in the 2007 film that robot has been trapped under some iceberg since the 1800’s.
In exchange, Travis Knight focuses instead on the relationship of a human teen girl named Charlie (Hailee Steinfeld) with the heroic Autobot scout Bumblebee. The story is framed around two misfits who find each other and are trying to get away from settings where they don’t belong - Charlie because she feels like she’s never fit in with anybody after the death of her father years ago. For Bumblebee, it’s because he has blissfully forgotten about a war raging all over space for thousands of years in which he is a key player thanks to robot-amnesia brought about by a combat injury.
The two characters find each other, and in the absence of aforementioned payoffs, Travis Knight lays down his cards. Instead of huge action occurring on Earth (because it’s not due to happen until another 20 years) , most of it instead happens in flashback on the planet Cybertron whenever Bumblebee recalls the conflict that is, as the film progresses, creeping its way to Earth and threatening his now idyllic existence. Instead of the “boy and his car” anchor plot of the film taking up only the opening 30 minutes before being subsumed by the unraveling of the robot war reaching Earth as in the 2007 film, this 1987-set story instead has the “girl and her car” anchor plot rolling on close to 75% of the running time and attaching itself to multiple sub-plots that wouldn’t be out of place in an old Amblin film to the extent that one wonders if there will be a big fight at all.
There’s Charlie’s pining for her old father. The fact that she gave up competitive high diving for whatever reason after he died. That she’s trying to fix her dad’s old favorite car as some kind of memento but it won’t get fixed for some reason. Some bumbling (no pun intended) friendship/romance with the boy next door. In fact, there is a considerable running time where all the robots appear to be stuck in stasis at the service of Charlie’s coming-of-age plotline. Bumblebee mostly playing the role of Herbie constantly going bananas and using his unique transformative properties and agility/clumsiness to get into all kinds of gags and hijinks, while the villainous robots called Decepticons appear content with just sitting in one building for more than half the film’s running time, searching for the long lost Autobot scout by building what in 1987 would be the precursor of the modern internet of things - their ability to “see” extending to such mundane objects such as electrical power outlets even if sensors small enough to fit in them could not have existed in 1987.
The villains deserve special mention because while Charlie takes the spotlight, for the first time in a Transformers film, the villains for once are able to steal the show. In a flourish that possibly could count as a homage of sorts to the original series, Travis Knight has given a Transformers film a pair of memorable villains in the form of a conniving female robot in the form of Shatter (voice of Oscar winner Angela Bassett), and her stockier, shorter, more bloodthirsty counterpart named Dropkick. In commentary for the original series, writer Flint Dille once remarked that the secret of the property lay in the “red robot”, and while many quickly assumed that sole credit belonged to the heroic Optimus Prime, Dille actually was referring to the predominantly red-chested Starscream, who at the time was the first cartoon secondary villain whose role was to second guess and occasionally attempt to usurp his own leader. In this film, Shatter, who transforms into a cherry-red 1972 Plymouth Satellite, takes on the role of smiling schemer that outwits and deceives US government forces into aiding the Decepticon mission under the pretense that it is to protect Earth from the great war of giant robots, unaware that the true goals of the Decepticons is to achieve the opposite. In so doing, Shatter gives the Transformers film series its first dose of Decepticons actually being deceptive.
Not that the task to fool the humans seems very hard. In another homage to the original series, as well as to many 1980’s youth adventure films in general, many of the adults in the film prove to be dimwitted and easily bamboozled. Government scientists fall for the charms of Shatter’s lip-less leggy “woman in red” routine. Charlie’s parents act like they are in charge, but all the children who take part in this adventure, which includes Charlie’s over-caring boy-next-door neighbor Memo, and her hyperactive younger brother Otis, are able to run amuck all over the neighborhood, and right into military bases with almost nothing to stand in their way except for the palpable danger that the weapons of the fearsome robots in this film carry.
Also palpable is the comic and dramatic tension brought in by Agent Burns (John Cena) in a role as a US soldier working under Sector 7 who is trying to do right by the stakes of Earth and coming to grips with the larger conflict we all know is yet to come. Cena does more with the role than is required and adds value to the film.
All of this comes to a head in a second half that is much tighter than a long and slow burn first half that plays out more like a Disney Herbie film than a hardened action film about an intergalactic war. The film’s bias to caution includes a finish that can be described as safe, but offering the possibility of a completely new continuity should this film prove successful to merit it.
All in all, this is a Transformers film which had the arduous task of taking the series in a new direction, replanting a number of elements to its 1980’s roots, whilst having an arm tied behind its back to pay reverence to the fated 2007 chronological sequel. It mostly works, and at the time of writing, the film is doing gangbusters in China where it has stayed at No. 1 for three straight weeks and has already crossed 400 million USD worldwide with Japan yet to open.
For Travis Knight, BUMBLEBEE is a triumph, not necessarily because it is a stupendous movie, but more because he mostly succeeded in delivering a good and successful film in spite of all the weight that fell on the project. For Michael Bay and the other minds that occupy the close circle of decision makers between Hasbro and Paramount, however, while there is cause for celebration, there will be decisions to make over the series future.
The cycle started in 2006, of reflection and reinvention, is therefore destined to continue.
Just watched the new Robin Hood film. I didn’t hate it but I wouldn’t say I particularly enjoyed it either. It’s just more of the same stuff that’s been done before and better. No real character development and the action isn’t going to win any awards. The outfits all felt out of place and the dialogue was boring and unoriginal. Unfortunately this is just another mediocre action movie you watch when you’re bored. I was bought up on multiple Robin Hood movies and it’s a shame to see them go downhill so much.
Oh and they straight up stole a scene from The Italian Job which is incredibly lazy.
I just watched Polar on Netflix. It left me wanting a little but I’m hard to please. Overall it was a good action flick with lots of gore just how I like it. Mads being in it made it a must watch for me regardless.
I watched Polar too it was suprisingly good, first part of movie was a bit meh but the further the better
I can thoroughly recommend the following perhaps-less-obvious film:
“Nazis at the Center of the Earth”
Every bad thing possible about a film coming together in one place, it’s so bad it’s a thing of beauty, pure artistry in its awfulness (and being British I get to complain about the spelling in the title, too ).