Above average family action film, but never quite rises to truly exceptional.
All the individual elements are well done: the cast is charismatic, the VFX are top notch. But there’s something in Shawn Levy’s execution, same as with Free Guy… they’re kinda flat?
A bit too polished and clean, so that all the real quirk and personality has been buffed out of them. They feel like products. Products with heart and charm, sure, but never truly unique enough in their own rights to elevate them above pretty good.
My hope is that having the Molyneux sisters (Bob’s Burgers) handling the script and Kevin Feige doing his Marvel overlord thing, the next Levy/Reynolds collab on Deadpool 3 will really click.
As for The Adam Project, it won’t stick with me longer than the next big action film I see.
A brilliant conclusion to the Tom Holland/Jon Watts “Home” trilogy, that is almost impossible to discuss without severe spoilers for the back half of the film.
Best appreciated knowing as little as possible beforehand, but I’ll still keep from spoiler discussion until after the click-through below.
The shortest spoiler-free review is: it’s bloody great, go and see it.
Fundamentally, this is taking MCU Spidey and directly addressing the criticisms levelled at this incarnation (Iron Boy Jr, a lack of Uncle Ben, too many advantages compared to the traditional depiction) and playing hardball with them to set up what may well prove to be the most wonderully accurate cinematic Spider-Man we’ve ever seen. Personally, I’ve always loved this Spider-Man, but to see how they’ve maneuvered the franchise into what it will be going forward is an absurdly impressive feat. Everyone gets their cake.
Some CG is a little wonky, but it’s balanced out by some fantastic Dr Strange sequences (Multiverse of Madness hype!) and wonderful character work. I genuinely believe Tom Holland will win over a lot of his haters with this one.
Look, spoilers are all over the internet, try and get out to see it as soon as you can. Otherwise, I’ve barricaded spoilers behind the jump.
We actually let the season mostly play out before binging it all in the week leading up to the finale — it’s the kind of show that brings such a good mood with it that you want to savour its short run but also hook as much into your veins as you can manage at once.
How to adequately describe Ted Lasso? From the outside it looks like a fairly boilerplate sports dramedy, but it very quickly reveals itself to be fundamentally about caring, support and growth. Season one was such an absolute burst of sunshine for 2020, and earned all the praise it received for its smart, brilliant character work while retaining a wonderfully high degree of emotional intelligence and a refreshingly blunt approach to conflict.
And this season doesn’t disappoint.
Interestingly, this actually marks something of a slightly darker tone than season one. Jason Sudeikis has described this as the Empire Strikes Back before we get to Return of the Ted–i for the third and final season next year.
The infectious sincerity and kindness is still present, but it’s not trying to sell you something saccharine or hollow. There are plenty of big emotional moments and they always feel true and genuine, even to a bitter old cynic such as myself.
Honestly, if you haven’t gotten on board I can’t push it on you strongly enough. From someone who couldn’t give two shits about football, I am incredibly invested in this wholesome show.
A little late to the party on this one, sure, but better late than never.
The sort of prestige crime drama usually reserved for HBO, it marks a period of Netflix when they were trying especially hard to establish themselves as a viable rival. It really shows.
Usually I avoid discussing plot since I often prefer myself to be able to start watching something without knowing where it’s going, but that approach is kind if moot here since Narcos is explicitly about the burgeoning cocaine trade in Medellín, Colombia during the 1980s and 90s — most notably charting the rise and fall of legendary cartel kingpin Pablo Escobar.
Performances are fantastic. Story is tense, engaging and frequently horrifying as the drug war escalates and corruption seeps into everything. Interests become conflicted, power shifts, lots of innocent people get caught in the crossfire.
A dark and depressing tale, the effects of which are still being felt to this day.
Terrorists hijack a plane and unwittingly set off a vampire hiding onboard.
If nothing about that premise makes you immediately say “fuck yeah” then I don’t know what more I can tell you to sell it. It’s ridiculous and it’s fun and it takes itself just seriously enough to stay firmly a horror movie with an emotional core rather than to devolve to a trashy comedy like it easily could have.
Makeup work is great, cast is solid, execution is exactly what it needs to be.
Of all the (now 23) novels that I’ve absorbed by audiobook in the past six months, none has had such serendipitous timing with other events in my life as THE RISE OF ENDYMION, the last in a series of four within Dan Simmons’ HYPERION universe. Just a quick clarification on that: HYPERION (CANTOS) and THE FALL OF HYPERION are a single, self-contained story told across the first pair of novels, while ENDYMION and THE RISE OF ENDYMION are their own complete story across a second pair that are set several centuries in the universe’s future that both function as a more traditional Hero’s Journey/Monomyth-type tale but also augments, alters, informs and reveals larger truths and obscurities behind the previous two novels’ tellings. There are innumerable resonant quotes throughout all four of the HYPERION books on life, death, immortality, love, vengeance, resurrection, trust, faith, truth, time, evolution, technology, humanity, inhumanity, myth, poetry, fable, story and all the spaces in between – it’s impossible to drop a single one without wanting to cross-reference it with a dozen more. I will hardly even touch on the actual journey of Raul Endymion, Aenea, the android A. Bettik, the fantastic Shrike (the truth of which we finally learn in twist of irony so poignant to certain characters in the series that even uttering that much verges on spoilers) or the host of other characters pursuing and aiding them, including a monstrous “woman” so brilliantly, threateningly beyond-Terminator-esque as to give even the legendary Shrike a run for its money.
Twenty-two books down on audiobook alone since October last year! Hot damn, that seems like a lot…
I was intending to write up Dan Simmons’ ENDYMION last night as I finished around halfway through the work shift, but alas I managed to be under a wall of boxes when it came down and took a solid thump to the head so spent the rest of the night in a mild, headachey daze, and really didn’t have the brain function to cobble a sentence together. Tonight, my phone mysteriously erased the sequel, RISE OF ENDYMION, from my library so instead I had to look into my backup supply of audiobooks and managed to get through the entirety of the first HITCHHIKER’S GUIDE TO THE GALAXY in its place, so now it’s a double-up!
Shrikes are passerine birds of the family Laniidae. The family name, and that of the largest genus, Lanius, is derived from the Latin word for “butcher”, and some shrikes are also known as “butcher birds” because of their feeding habits – known for catching insects and small vertebrates and impaling their bodies on thorns, the spikes on barbed-wire fences or any available sharp point. This helps them to tear the flesh into smaller, more conveniently-sized fragments, and serves as a cache so that the shrike can return to the uneaten portions at a later time. — Wikipedia
It’s something of a tricksy task trying to analyse the sequel to HYPERION, in that it’s not so much a sequel to what has almost instantly become my favourite sci-fi novel ever as it is a continuation of the story picking up immediately from the pilgrims’ arrival at the Time Tombs on the titular planet at the very end of the first book. So really, the two should be viewed as a single story in two parts and ideally I’d have thus reviewed them together, but there’s jsut so much to each of them in their own right as well that it was certainly wiser to do it in halves. Eschewing the Canterbury Tales structure of the previous volume, THE FALL OF HYPERION is not more about the groups’ individual reasons for coming to the planet to ask The Shrike for a single wish as it is the story of what those wishes are and the consequences they will come to have for all of existence.