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mitchmitchell
Reviews
Rebel Moon - Part One: A Child of Fire (2023)
I spent more time writing this review than watching it
In reflecting upon the succinct yet ostensibly significant three-minute investment by Netflix in this cinematic undertaking, pivotal inquiries arise regarding the very essence of its content. Does the possession of visual elements alone suffice to elevate it to the echelons of profound cinematic art, or is there an imperative for a narrative depth that authentically engages the audience?
The opening sequence, featuring Anthony Hopkins' exposition-laden voice-over, beckons an assessment of its efficacy. Does this approach effectively captivate the audience, or does it risk consigning crucial details to the recesses of forgetfulness? Can the pronounced emphasis on names, places, and temporal intricacies be perceived as compensatory for narrative shortcomings, thereby limiting the audience's immersive experience?
Broader scrutiny of contemporary entertainment prompts consideration of the prevailing dichotomy between depth and superficiality in narrative execution. Are discerning viewers increasingly confronted with a dearth of substance beneath the veneer of cinematic experiences? Is the intrinsic nature of entertainment evolving toward narratives that pivot on experiential engagement rather than reliance on mere exposition?
The scrutiny extends to the directorial prowess of ZS, prompting a re-evaluation of his acclaimed credentials. Does the absence of compelling storytelling in this instance cast a shadow on his perceived abilities? Is the laudable exception, 'Day of the Dead,' more indicative of collaborative success than the sole merit of the director?
Turning attention to Netflix's role as an arbiter of content, questions emerge regarding the platform's pursuit and discernment. Does the platform's voracious appetite compromise qualitative considerations? Is there an apparent indifference to nuances that differentiate mere visual stimulation from genuine artistic expression?
In conclusion, the plea for ZS to contemplate an exit from the industry is juxtaposed with the metaphorical image of a sunlit deck chair-a symbol of respite from the demands of the cinematic milieu. The assertion that 'no one will miss' is presented as a contemplative acknowledgement, suggesting a detachment from the film maker's contributions and a recognition of the industry's potential evolution beyond his influence.
She-Hulk: Attorney at Law (2022)
It's average, but only offensive if you expected it to be excellent
It's not trying to be anything other than mediocre and average, and as such it does not have to be taken seriously or with any sense of contention.
If it was trying to be anything momentous, then it would be classed as a huge failure, but because it is simply trying to be average, in an effort to rationalise the subscription fees being asked, then it's fine.
It is not good, it is not bad, it is just an average 5/10 piece of disposable light entertainment.
I'm sure women will like the 'talking points' more than the story it has been pinned onto, because the story is weak and would make most human beings green around the gills.
A shame, then; that it could not have pinned it's talking points onto a decent story well told, and so become green around the biceps, where it needed to be.
The actress is far too old for this type of character, which surely should have been played by someone in their late 20's early 30's - young and keen to make a difference in the world at the beginning of her career - instead of bitter, jaded and chasing after guys half her age...
Kinda creepy to watch someone of that age hooking up with what amounts to an intern...
Equal Means Equal (2016)
Poorly made documentary
The essence of a Universe is hard to understand if your telescope only looks at one star in the sky.
Kamala Lopez tries very hard to make us understand an interesting topic from many vantage-points, but fails in delivering a broad and balanced documentary for which this topic clearly needs and deserves. The main problem is it begins with an assumption that; equality does not exist. The documentary then takes us on a tour-de-force of heart-string-pulling, instead of focusing on global issues affecting the entirety of human equality in all countries.
Instead of anecdotal individual stories of how people feel about something which happened only to them, we seek actual documented facts and statistics in totality across the globe. What is also skewed, is that instead of getting both sides, Kamala Lopez decides to focus only in something which supports the premise for which it then propagates.
As such, large portions of this documentary could have been cut and replaced with the larger global picture of equality - which is significantly more important and worthy of our attention.
I hope if Kamala Lopez attempts to look at the topic again, she will buy a bigger telescope and then, we will see something worthy of our attention.
Enterprise: Regeneration (2003)
Oh, the humanity of it all....
This, is what happens when Gene Roddenberry dies and you are left with a TV Franchise and have no talent or idea on how to implement it.
Rick Berman has no clue as to what makes Star Trek "Star Trek" - and if there is one episode where this is exemplified, it is this.
The Borg went back in time to assimilate Earth. Picard killed them with Quantum Torpedoes (X4) and that Borg Sphere was utterly destroyed...but let us put that to one side for now and talk about what happens in the actual episode.
So, apparently some Borg survive and crash/land in the arctic circle, freezing them until awoken, which when happens they leave Earth and try to get to Borg Space.
This simply does not make any sense...their mission was to stop 'First Contact' and assimilate Earth...so why travel back to Borg Space? Why not, send a message to Borg space from Earth, but continue to Assimilate Earth? One on each continent? Multiply and slowly take over Earth? And, if you are going to change cannon, then Q would not have 'flung' Enterprise D into the borders of Guinan's home in the El-Aurian system as a lesson, as the lesson would not have made a point, because Humans would have already had 'a taste of their future'.
So yeah, dumb episode and is basically what happens when you are Rick Berman and you run out of ideas, and want to try and get your viewer figures up: You create an anachronistic nightmare, alienate the fans and ruin Star Trek, again.
His logic undoes his logic.
Better Call Saul: Switch (2016)
Very good
Extremely well made mini-series.
It's so nice to watch great dialogue, acting, direction, cinematography, plot, twists, bait/switch all wrapped up into an astonishingly original serial. I almost forgot what original television was like. The leading character Jimmy tries so hard to do the right thing and will take himself and you to the edge, in an attempt to gain the loyalty and respect of his brother and peers.
With so many story-by-committee programs out there, take time to watch something made for adults by adults. If that doesn't convince you, perhaps this will: It's better than Breaking Bad.
...And that surprises me more than it does you.
The Host (2013)
Interesting
Detachment is needed whilst writing a review for The Host, and this film makes it hard to do that.
The opening act of film deals with our main character Melanie sacrificing her life to hide knowledge of the whereabouts of her family from alien lifeforms who inhabit human bodies.
Unfortunately Melanie is unsuccessful in her attempts at suicide and her body is implanted with an alien life-form who calls herself 'Wanderer' (which gets shortened to Wanda later in the film) by the lead Aliens who now control all life on Earth.
Side-stepping the 'how/what/when/where' issues of an alien race taking over all 6 billion humans and the hoover-dam size plot-holes this conjures up after we see what the aliens look like, the actual feel of the movie is very good in these opening stages; with lots of great camera angles and wonderful blocking of the scenes with effortless pace. All of the sci-fi 'stuff' is really great to see and has a clinical-whiteness to it which is appealing to the eye. Only downside to this is some of the vehicles, which are a little too plain as they are recognisably current cars and motor bikes, just with a metallic paint-job. It is forgivable, as the vehicles are not relevant to the plot and are really just placeholders to explain/denote distance covered, but as they are so shiny it warrants a mention, if only to convey the attempt at continuation of style regarding the Aliens.
After the establishing act, the story moves speedily into the hub of the conflict; the Alien inside Melanie finds the soul of Melanie and her memories are still just below the surface and have partial control over the actions and inactions of the body. Melanie can also communicate with Wanderer and although initially tries to control her, finds the diplomatic approach easier and together they find common ground to help each other in their goals.
So...good sci-fi elements, good sci-fi premise (but not original) and good direction - where is the problem? It's the love story.
Never before have two characters (Wanda/Ian) been thrown together and fallen in love in such a short period of time. It was baffling to watch and completely disconnected me, because everything else in the film has a certain logical construct to it (contextually) which is paced out and built to a satisfactory conclusion, regardless of whether it is enjoyable to watch or not.
The star of the film is really Melanie/Wanda actress, Saoirse Ronan. She is one of those rare actresses who can really hold the attention of an audience, and is adept at being able to convey emotional states with the slightest change in her facial expressions. She also I believe is perfectly cast for this role as it required someone who could play a character which has another person's emotions deep inside her and can manage to display this subtly to the audience, but in just the right quantities.
I think Andrew did a great job with the film and the material, but it is flawed and it's hard to point fingers at anything but the script and the way it handled the whole Wanda/Ian moments, because when they confess their love for each other, it truly is hard to watch. If they had more scenes and more film-time to have their love grow organically, it would have worked much better.
Nice score by Antonio Pinto that really raises some of the scenes higher than most films would do given the same material.
I can recommend it as a sci-fi movie, in the classical sense of the genre - but find it hard to recommend it as a love story for the reasons given.
Watch it, but be prepared to have some form of detachment in some places, but not all and not for long.
Star Wars: Episode III - Revenge of the Sith (2005)
Seen this before, we have
I waited in great anticipation for the release of this film, as most did and have. Disappointment was all that followed. From the well paced beginning, the film sinks into pointless territory, regarding how Anakin Skywalker 'became' Darth Vader. The reason, which I will not reveal for those that still wish to see it, is so completely hackneyed and preposterous it still astounds me now. Everything we see of Anakin early on is thrown away and he, with no thought to character development, changes into a Sith Lord. There is simply no real, credible, reason why this happens and it ultimately lets down that which could of been George's finest hour in this century. There are also too many characters, none of which are allowed free reign and no sooner are they allowed to develop, they are discarded like everything else. The performers do what they can with the awful script, Ian McDiarmid seems to really enjoy his job portraying the puppeteer to the demise of the republic and the Jedi. Natalie Portman is keen to look beautiful, but has little on-screen time to go through as many outfits as normal. Ewan McGregor puts his best foot forward and practically steals every scene he's in, displaying flair and wisdom that fits the character perfectly. For years now, we have all wanted to see the great light saber battle between Obi-Wan and Darth/Anakin. Having to wait all the way through the film to see it, I was let down by a mix of CGI-composites that did nothing but detract from the action. The close-ups ruined what looked like months of practice for Hayden and Ewan as all their show boating was over far too quickly. Put simply, there is no progression in this film and what happens at the end has no meaning as a result. Yes, it does have spectacular special effects. Yes, it does have superb music and sound. Yes, it is a 'Star Wars film'. I'm sorry to say that is not enough to iron out the rough spots in plot, script and story enough for me. Comparisons to the original films, will, in time, show that the story is what will always hold the imagination and hearts of hungry audiences. Good versus Evil will always be better than hole ridden plots about trade routes and democracy. I'm not going to say Star Wars fans will love it, but because it's a Star Wars film, you can decide how much you can forgive it's significant and varied flaws. A contradicting mess of a film.