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ratingtheframe · 4 years ago

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Enola Holmes, The Devil All the Time and i’m thinking of ending things: Everything I watched in September.

Thank God we are almost at the end of the year. With October just around the corner and 2021 in full view, it seems like the film industry is slowly piecing themselves back together after months of being on a complete hiatus. Cinemas are slowly starting to return back to normal and streaming services are now full to capacity with content.

Netflix in particular has some exciting things to come and the successful release of Harry Bradbeer’s Enola Holmes and Antonio Campos’ The Devil All the Time, has proven that their ability to produce outstanding content hasn’t been stunted at all by COVID-19. Here are the 31 titles I watched this month and for you to add to your watch list.

Searching (2018) as seen on Netflix

Searching recently came onto Netflix, however the film was actually first released in 2018, screening at Sundance Film Festival. It had a very impressive response and grossed $75 million worldwide and with a budget of only $880,000 it was certainly a success. I rate this film highly, due to the simplicity and execution of it, with a lot of twists and turns in appropriate places. Structurally, the film is flawless and it’s clear a lot of thought had gone into the payoff of the entirety of the film. Certainly an indie filmmaker's dream and a film to watch to learn about the “less is more” rule of screenwriting.

Score: 10/10

Zodiac (2007) as seen on Netflix

I’ve been avoiding Zodiac on Netflix for a loooong time, and after watching it I wonder why I didn’t check it out sooner. David Fincher’s (Fight Club, Panic Room, the Social Network) thriller based on the case files of the “Zodiac Killer” stars the likes of Mark Ruffalo, Robert Downey Junior and Jake Gyllenhaal, all of which had amazing on screen chemistry. The dialogue and structure is Aaron Sorkin-esque as you figuratively become one the detectives, unravelling the case as the two and a half hour film delves deeper and deeper. You honestly feel as if you become one of the team whilst watching Zodiac and just for that, it goes down as a praise worthy film with a perfect structure and surprising twist to the end. Zodiac is the thriller of thrillers.

Score: 11/10

I See You (2019) as seen on Netflix

Now a film like I see you has me questioning

Netflix’s

choices a little. The film scores handsomely on

Rotten Tomatoes

, with a metric score of

78%,

which is quite high for a largely gimmicky film. I can’t quite fault the overall concept, however the story itself fell flat by the end. Things just seemed to mount too much to the point that it became overtly inauthentic and questionable. Instead of paying attention to the movie, I found myself picking up all the irregularities such as why a police man would suffocate someone, drive them to their own home and then shoot them in the head. Surely a policeman would just leave her in the woods? On a brighter note,

Judah Lewis’ (Babysitter: Killer Queen)

was quite praiseworthy in his performance, but it wasn’t enough to drag the film out of a hole of confusion.

Score: 2/10

Fear and Loathing in Las Vegas (1998) as seen on Netflix

If there is one film that you NEED to watch from this list, it would be Terry Gilliam’s Fear and Loathing in Las Vegas. The crackhead energy in this film is OFF THE CHARTS as Johnny Depp and Benecio Del Toro play two drug addicts exploring Las Vegas. The production design in this is marvellous and really captures the psychedelic world the two men enter every time they’re high. I particularly enjoyed Depp’s narration throughout this; his voice is the most sensual yet hilarious thing to listen to for 2 hours straight. Fear and Loathing in Las Vegas is HILARIOUS and such a well rounded, off the wall film to watch.

Score: 12/10

I’m thinking of ending things (2020) as seen on Netflix

Even though I watched i’m thinking of ending things nearly a month ago, I’m still recovering from it. Charlie Kaufman (Adaptation, Being John Malkovich) directs this satisfying yet highly confusing tale based on the Iain Reid book with the same title. Despite it’s perplexing plot, I certainly can’t fault the film’s performances or set design. Jesse Plemons, Jess Buckley, Toni Colette and David Thwelis made a surprisingly good ensemble and the makeup in this film is probably the best I have ever seen. HOWEVER and this is a big however, the waywardness of the story can’t override the success of artistry behind the film. I feel like there’s becoming a trend where films are visually perfect but make zero sense. By sense I mean a clear, concise story, that has character journeys and some sort of resolution at the end, no matter how big or small. I’m thinking of ending things that had just about NONE of these elements, and that doesn’t make it a bad film at all. It’s certainly not a film I’ve seen before and perhaps it raises the questions whether films need to make complete sense in order for them to be good. We can take a look at experimental cinema to delve deeper into that theory, for within this type of cinema, films can still be appreciated even when they are confusing. Perhaps the meaning of i’m thinking of ending things, is more powerful and higher than the average movie goer can understand, but still appreciate.

score: 9/10

Hacksaw Ridge (2016) as seen on Amazon Prime

Again, another film I’ve been avoiding for a loooong time and regret not watching sooner. The film stars Andrew Garfield as a devoted Christian who goes to war to serve his country, but refuses to carry a weapon yet lives to tell the tale. Preacher Desmond T. Doss saved the lives of between 50-100 men on Hacksaw Ridge during the Second World War. He was heavily commended for his service and the film itself earnt 6 Academy Award nominations. It’s a story that was born to be on screen and it’s hard to believe it was all true. Andrew Garfield’s performance was exemplary and he is definitely underrated as a truthful actor.

Score: 10/10

Fear (1996) as seen on Netflix

I am sucker for a thriller, good OR bad and this one from 1996 was surprisingly decent. Starring Mark Wahlberg and Reese Witherspoon in their early days, Fear follows a pair of young lovers whose strong relationship turns into a possessive one, when Witherspoon’s character, Nicole learns the true intentions of her boyfriend. It's a 90s teen flick that isn’t talked about enough and certainly an easy one to get sucked into as a guilty pleasure.

Score: 10/10

Make Up (2019) as seen at the BFI Southbank

Make Up first screened at the London Film Festival last year and was later released this year. I wanted to catch it at the festival and was glad it made it into cinemas. The eeriness of the british film directed by Claire Oakley, was a slow burnt, intriguing watch, however as artistically visual it was, a satisfying resolution to the film was missed. The payoff of the story was easy to define despite it’s ambiguity, however it wasn’t as hard hitting as it should’ve been, which is common in most indie features. The better ones expose ideas and truths in a punchy way, such as La Haine or Whiplash. The film’s genre was also undefinebale and although the story was interesting, I wouldn't be inclined to come back for more of it.

Score: 7/10

Zoolander (2001) as seen on Netflix

I’m not a huge comedy fan, however it’s about time I watched Zoolander, for it’s probably one of the most iconic films of the early 2000s. The film follows a model targeted by a fashion brand who wants him to kill the prime minister of Malaysia. Anyone who was anyone in the 00s is in this film, from Naomi Campbell to Lil’ Kim, Paris Hilton, Donald Trump, Lenny Kravitz, Natalie Porter and even David Bowie. How they managed to get these famous faces as well as the actual cast (Owen Wilson, Ben Stiller and Will Ferrell) onto this film is certainly a mastery at casting. As far as comedies go, Zoolander is iconic and a must watch for those who are thoroughly in love with these types of outlandish films.

Score: 8/10

American Pie (2001) as seen on Netflix

This is the my first time seeing American Pie and for someone who hates comedies, it thoroughly made me laugh. I definitely had to look past at the amount of misogyny and questionable scenes in this film and just sit back and enjoy it all. I felt that all four leads (Jason Briggs, Thomas Ian Nicholas, Chris Klein and Eddie Kaye Thomas) were well casted as an ensemble and were really down to earth in their performances. They were authentic in being high school boys still figuring themselves out and in the end I found each one to be highly likeable. As a comedy, this is definitely a go to and an iconic film from the early 2000s.

Score: 9/10

Clemency (2019) as seen on Amazon Prime

A Sundance Film Festival graduate, Clemency was a deeply moving and well shot film that exposed the shocking reality of prison inmates on death row in the US. The word clemency is essentially a term used to define an act of mercy by the justice system, who at the last minute of a prison’s life can grant “clemency” if they feel worthy of doing so, stopping them from being executed. Factors such as new evidence or a parole grant can influence this decision and this film shows the abrasiveness of such an idea. Imagine being a prisoner moments away from death and because of Clemency, you sit there thinking your life can still be saved. But as this film depicts, this isn’t always the case and the masterful acting of Alfre Woodard puts this grief into context beautifully. Her performance ignited this film and it was easy to see this story got to her on a deeper level, that went beyond serving a character. A seriously good film that is professional, dynamic and heart wrenching.

Score: 10/10

Gladiator (2000) as seen on Netflix

I never saw myself as someone who would like Gladiator, however Ridley Scott’s Oscar winning film thoroughly surprised me in an unexpected way. Moving past the amazing visuals and outstanding production value of this film, the actual story itself was just so damn good. It had an excellent, Hollywood worthy structure that saw a hefty and clear journey of it’s lead, Maximus (Russell Crowe). I was VERY surprised to see Joaquin Phoenix play alongside Russell Crowe, who gave a great performance as a bratty roman emperor. Gladiator was nominated for 12 Academy Awards in 2001, which is unsurprising seeing as it's a pretty much flawless film, with the character’s fierce journey being the main contributor to this.

Score: 11/10

American Pie 2 (2001) as seen on Netflix

Now sequels are known to be the downfall of some films, especially as the first films were okay on their own. However, I definitely enjoyed American Pie 2 as much as I enjoyed the first. The performances of all characters seemed to get better with time and it still remained outlandish and hilarious to watch.

Score: 9/10

3096 days (2013) as seen on Netflix

When you laugh more at a film than you should have, there’s something clearly wrong. This Netflix film based on the true story of the kidnapped Natascha Kampusch was directed by German-American director Sherry Hormann. This is gonna sound whack, but one of the most annoying things about this film was the lighting. It felt as if it was never truly dark in this film and because of that, it distracted from the fear of the situation young Natascha was in. Lighting plays an important role in thrillers and horror films, as the idea of these films is to keep people constantly on edge and the dark is something that does that perfectly. I felt safe when watching this film and although it’s meant to be a biopic, I don’t think it captured Natascha’s situation as best as it could have. Another thing that really let the film down was the dubbing from German to English. This is a pet peeve I have with films, but is understandable seeing as the majority of people are too lazy to follow foreign language subtitles and miss out on some of the best films ever made. Because of this, it forces foreign language films to cater towards an English speaking market so the film becomes more viable. I would’ve respected this film a lot more if it was completely in German and had English subtitles.

Score: 5/10

Cruel Intentions (1999) as seen on Netflix

About a year ago, I saw the Glenn Close and John Malkovich film version of the french novel Dangerous Liaisons and I fell asleep. Maybe it was the film I had seen before it that had made me nod off or the fact I couldn’t understand what the hell was going on. However, Cruel Intentions follows the same story with younger leads; Sarah Michelle Geller, Ryan Phillipe and Reese Witherspoon and is set in the modern day. As you can probably tell by now, I am a sucker for a 90s teen movie and Cruel Intentions was all that and more, for the performances and story structure in this film were top notch. Ryan Phillipe is a much underrated actor and heartthrob, playing a jealous and callous Sebastian, the step brother of Sarah Michelle Geller’s character, Kathryn. Both of them were spiteful, abrasive and mean and I LOVED IT. Their non-fuckery was enviable as they cheat and turn the lives of others upside down. Reese Witherspoon was an angel in this film, and I thoroughly appreciated the strength of her character throughout. Cruel Intentions sits highly as a film from the 90s and boasts a hoard of young talent from that era.

Score: 10/10

Wildlife (2018) as seen on Netflix

If you are in love with Paul Dano as much as I am, you’re gonna want to marry him after you find out that he’s also a director. His first feature Wildlife, stars Jake Gyllenhaal and Carey Mulligan as a couple battling the demons in their relationship whilst caring for their young son. I really really REALLY can’t wait to see what Paul Dano directs in the future based off this film. It’s everything I love about a good indie film; well shot, a perfect cast and a touching story. It truly is a beautiful film and one I would recommend to my indie lovers out there.

Score: 10/10

The Perks of Being A Wallflower (2012) as seen on Netflix

My excuse for not having seen The Perks of Being A Wallflower is that I thought it would be yet another predictable high school blunder, with flat dialogue and basic character arcs. And I was half right in that. The first half of the film (mostly exposition) was filled with cringey dialogue and basic high school motifs that set up the film. Some moments were overtly far fetched and it took me a while to fall in love with the main character instead of feeling desperately sorry for him ALL THE TIME. Ezra Miller, Emma Watson and Logan Lerman all together as an ensemble was whack casting that just about worked. However, once we made it through the blizzard of exposition and got to the heart of the story, it truly was a touching and tear jerking movie to watch and for that, it scores highly. “We accept the love we think we deserve” was the ringing message of the film and certainly something I carry around with me daily as I reflect on the unfulling crushes I’ve had in the past.

Score: 9/10

The Devil All the Time (2020) as seen on Netflix

Probably my most favourite film on this list, The Devil All the Time is pure ART. I have a full review uploaded onto my tumblr account so please do check it out to see an in depth review of the Netflix film. All I will say is that it is a must watch film with an unreal cast and story.

https://ratingtheframe.tumblr.com/post/629443058079055872/the-south-of-america-meets-gritty-gothic-horror

Score: 11/10

Way of the Gun (2000) as seen on Amazon Prime

Ryan Phillipe and Benicio del Toro star side by side in this action packed crime thriller about two guys who kidnap the wrong woman. Simple in it’s log line with the potentiality to be limitless in its telling; ie the basis of every good film. Juliette Lewis (the it girl of the 90s) also stars in the film and really compliments the performances of both leads. Any film that Juliette Lewis is in, is a good film and she is an actor with a very impressive portfolio of work under her belt.

Score: 9/10

Judy and Punch (2019) as seen on Netflix

I’ve been waiting since the end of last year to see Judy and Punch and was thrilled to see it had been put onto Netflix. However, after watching it, that thrill deteriorated and what was left was a disheartened feeling towards this film. It’s a shame to say this, seeing as the story of Judy and Punch is so satiable and fulfilled in its possibilities of telling it. However, probably the biggest problem within this film was its pace; it was too quick of a film. The beginning was organic and smooth, but as it went on it started to become continuously rushed. There were characters I didn’t have time to get to know and actually didn’t even end up knowing their names. There’s a point in the film when Judy is welcomed into an isolated society outside of her home, most of which in that society were women. I would’ve liked to get to know them better and see how they influence Judy’s character and revenge on her husband. The film felt very rushed, which is a shame because everything else; acting, production and story were well aligned.

Score: 6/10

22nd July (2018) as seen on Netflix

I remember the 22nd July 2011 as clear as day but for all the wrong reasons. On this day, 77 people in Norway were killed by a terror attack caused by a right wing, anti-immigrant supporter, Andres Brevik, who was a member of a radical organisation and spent nine years preparing his attack on Oslo and Utøya Island. The most shocking part of this massacre was what happened on Utøya Island, which was the main body of Netflix’s film 22nd July. Viljar Hanssen was a teenager attending a political youth camp on Utøya Island in the summer of 2011. Whilst on the island with his younger brother, a bomb went off in the centre of Oslo, outside a government building, killing 8 people. By the time news of the attack got to Utøya Island, its perpetrator had also arrived, and begun gunning down the kids on the island. 69 people were killed, most of which were under 18. Viljar Hanssen was shot five times, in the head, arm, legs and hand. The attack lost him an eye, several fingers and bullet fragments still remain in his brain. He also lost close friends and the ability to perform in many activities he used to do growing up. His ordeal and that of many on the island, is captured in 22nd July, that from beginning to end, approaches this story with sensitivity and facts. Out of the many events I have heard of that include a massacre of some kind, this attack always sticks out in my mind. The perpetrator was truly merciless in his rage against immigrants coming into Norway and he made sure to express that hatred in such a shocking and profound way. The entire story is one that is so hard to believe and is important in preventing future attacks of this kind.

Score: 11/10

Les Misérables (2019) as seen at Curzon Bloomsbury

Les Misérables was nominated for Best Foreign Language film this year at the Oscars and despite it being thrilling and highly well made, I felt quite disappointed by it. The film was accurate in exposing the many communities now prevalent in France today and it was definitely one of those gritty, Cannes worthy films to sink your teeth into. It's not a bad film at all, it's just one I found hard to relate to and therefore I switched off whilst watching it. In fact, I think Portrait of a Lady on Fire was a better contender as Best Foreign Language film at the Oscars and I was left fuming when I found out it hadn’t been nominated in that category. Les Misérables is a film I’d recommend but found it hard to love it overall.

Score: 9/10

A Cure for Wellness (2016) as seen on Netflix

The logline for Shutter Island (2010) is as follows: Teddy Daniels and Chuck Aule, two US marshals, are sent to an asylum on a remote island in order to investigate the disappearance of a patient, where Teddy uncovers a shocking truth about the place.

And the logline for A Cure for Wellness is as follows: Lockhart, an executive, is sent to a wellness spa in the Swiss Alps to retrieve his company's CEO. At the centre, he encounters strange activities that make him investigate the illness of the people.

Notice anything? They are literally the same film and it's not just the loglines that share an alikeness. On watching A Cure for Wellness, I noticed how similar it was to Shutter Island, from the location, to the colour grading, costumes and even lighting. Both films are almost identical and I pretty much hate both films anyway. I’ll admit, A Cure for Wellness has a better story and tells it better as well, but if it's just a rip off from Shutter Island, is it all that good? I appreciated the production value of this film yet it was hard to tear it away from Shutter Island’s own production. Overall, I found it quiet gimmicky and too close to Shutter Island for it to have much originality.

Score: 6/10

U want me 2 kill him? (2013) as seen on Netflix

The only thing that let this film down was the acting. There’s something about solely British productions that rub me the wrong way. Admittedly, their structure is always good and the story is well put together, however the artistic side of these films lacks in parts, from acting to set design. U want me 2 kill him? Is based on a true story which really alleviated the film. I thoroughly enjoyed delving into this story and it was an interesting, engaging plot. However, its production value and acting is what let it down.

Score: 7/10

After (2019) as seen on Netflix

So in short, this wasn’t a good film. The twist was satisfying, however the rest of it was just plain annoying. Any film that uses reality tv type music in its montages pisses me off. It's just such a cringey way of showing emotion on screen and I’d much rather they use music with no lyrics or music that actually conveys the emotion of the scene. The relationship between the leads, Hardin and Tessa (Hero Fiennes-Tiffin and Josephine Langford) was very predictable and the conflict between the two only made up like 5% of the film; 2.5% at the beginning and a further 2.5% at the end. For the rest of the 95% of the film, they were pretty much happy throughout, meaning the story had nowhere to go, besides the fact that Tessa’s mom disapproves of Hardin. But besides that and a shocking revelation..that was about it. No one died, no one was really hurt. Hardin was made out to be more troubled than he actually was (his dad is chancellor of a college for fuck’s sake) and I found myself laughing when I shouldn’t be. As for After We Collided, I can’t wait to tear it apart this month.

Score: 4/10

Miss Juneteenth (2020) as seen at BFI Southbank

Miss Juneteenth is the underdog movie of the month for me. You can read a full, in depth review of it right here:

https://ratingtheframe.tumblr.com/post/630357041253400576/she-my-dream-now-miss-juneteenth-review

Score: 11/10

Monsoon (2020) as seen at BFI Southbank

Why this film was praised by critics is unknown to me. The number one thing that this film did wrong was not showing ANY conflict on screen whatsoever, the characters merily TALKED about conflict. Conflict and actions based on those conflicts is what moves a story forward, and this film was certainly static. The story follows a man (Henry Golding) and his return to Vietnam as he learns about the war and the life he left behind. But the film shows no war, no deprivation or heartache that many vietnamese people had to go through. It's just filled with empty shots of Vietnam and Henry Golding looking out at the city. Why not just make a documentary about The Vietnam War with Henry Golding presenting it, as that is what this film was virtually. You can’t get away with nice looking shots to produce a praise worthy feature. Maybe I’m getting the wrong jist of the film, but in terms of its telling, I didn’t feel anything at all whilst watching it and if I didn’t feel anything, I wasn’t thinking about anything because it was so mundane.

Score: 5/10

The Riot Club (2014) as seen on Amazon Prime

I’ve had a strong soft spot for Sam Claflin since he played Finnick in The Hunger Games. My crush on him was further confirmed with The Riot Club a British Production based on Laura Wade’s theatre play Posh that shows the ongoings of Oxford’s Riot Club. The group of ten men are all self entitled posh twats who think their education and parent’s money allows them to act in a horrendous way, with their initiation ceremonies and club rules. Sam Claflin plays Ryan, a 1st year student at Oxford and one of the Riot Club’s newest members. Max Irons plays Miles, another new member of the club, who becomes the focal point of Ryan’s jealousy, causing him to do some unspeakable things in one night out of envy for Miles. The ten men in the film work brilliantly as an ensemble, which is unquestionable seeing as five of them went to Guildhall School of Music and Drama, three went to LAMDA, one studied drama at University and the last went to Bristol Old Vic. All the leads in this film are well trained and it's clear to see that in their performances. A really enjoyable, yet eye opening film that exposes the privilege of some living right in the UK, including Boris Johnson and David Cameron, who were former members of this heinous club.

Score: 10/10

Enola Holmes (2020) as seen on Netflix

Hmmm...there is a great deal of hype going around for this film and with a 92% rating on Rotten Tomatoes, Enola Holmes is well liked. This is understandable, seeing as Fleabag’s director Harry Bradbeer directed this film for Netflix and the cast includes the likes of Millie Bobbie Brown, Henry Cavill and Sam Claflin. I have never seen Millie Bobbie Brown in anything and yet I don’t think she’s doing anything special for me at this moment in time. As a viewer, I am 100% not into actors talking to the camera, a communication technique that I think should stay in theatre. I get this is a big part of Fleabag however I think Enola Holmes could have done without it. Another movie pet peeve is when the opening of a film explains what the film is about directly, something Enola Holmes did in an artistic, yet blatant way. Audiences aren’t dumb and will catch on with given clues, there’s no need to go through a character’s entire history in the opening of a film. For kids aged between 8 and 12, this film is great and Enola Holmes makes a great hero for many young girls. I don’t fall in this age bracket and therefore I enjoyed it a whole lot less.

Score: 6/10

American Murder: Family Next Door (2020) as seen on Netflix

Netflix is known for producing some of the finest, most eye opening documentaries out there. Despite this one being quite simple using found footage, its impact is certainly something that grew organically throughout the documentary. You can read my full review of American Murder: Family Next Door here:

https://ratingtheframe.tumblr.com/post/630780350645354496/netflix-documentary-delves-into-the-murder-of-a

Score: 10/10

Peppermint (2018) as seen on Netflix

I was thoroughly shocked to discover this film was made 2 years ago. You’d think we’re past a time of creating bad films that actually get released, but I guess we’re not. Peppermint was released in the same year as The Favourite, Blackkklansman and A Star is Born, three courageous films, all of which were showered with awards. Peppermint had two major problems; 1) it was boring and 2) the lead wasn’t orchestrated properly. The mexican drug cartel who murder the protagonist’s (Jennifer Garner) husband and child was almost insulting. Because it felt so inauthentic and gimmicky, I didn’t really understand why the drug cartel in the film was even mexican. Peppermint proves that a good story can turn bad in the wrong hands. The script was quite terrible and surrounding that was the nonsensical, half asked directing which saw Jennifer Garner get way too many injuries to still be alive in the end. The whole thing just had my eyes rolling, as nothing about it was original or provoking at all. In fact, the film didn’t even EXPLAIN how Garner’s character became a bloodthirsty vigilante. It merely showed us her training as a cage fighter. Das it. Nothing else in her character made her into this dominant and highly skilled fighter who takes down an ENTIRE DRUG CARTEL ONE HANDED. It, made, no, sense and sits a good example of how NOT to make a film. Also the only reason why it was called Peppermint was because of peppermint ice cream...yeah I don’t get it either.

Score: 2/10

And that is September, which marks an entire year since I’ve been critiquing movies and in that time, I’ve watched well over 350 films. There’s a lot more to come though, for the London Film Festival commences in October and titles such as Dune and the No Time to Die await a winter release. Stay tuned!

#movie review #netflix #movie recommendation #SeptemberMovies #movies #the devil all the time #enola holmes #zodiac #reviews #im thinking of ending things #cinema #bfi london film festival #bfi southbank #curzon

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theantisocialcritic · 4 years ago

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Archive Project - May 1, 2014 - Legend of Hercules Review

The Legend of Hercules, 2014. Renny Harlin 99 Minutes Watch the trailer here: https://www.youtube.com/watch?v=g0GMzQwO2l0 ————————————————————————————————————————— ————————————————————————————————————————— This movie holds a odd precedent. Being released in January of this year, it was met with an overwhelmingly negative series of reviews and a shockingly low 3% rating on Rotten Tomatoes. The oddity of this is that, as a movie, its not that bad. Not THAT bad at least. As a movie, Legend of Hercules is basically a really good ScFy original movie. Alternatively, drive-in schlock if thats how you'd like to look at it. The story follows Kind-of-Hercules in a plot very similar to that of Thor. After being banished from Rome, Hercules must duel in a series of 300 and Gladiator style action sequences to earn his freedom, take back his kingdom and save the woman he loves. The story is fairly competent enough to be considered passible. Its not confusing, its simple and it works. Most of the individual elements are decent. The action scenes are all well choreographed, as this movie's director is the guy responsible for Die Hard 2: Die Harder. The acting is… presentable… I'm pretty sure the main actor was a former Twilight background character so his combination acting of melodrama and gruff is fairly laughable at the worst of times. The film's main problem is merely it's flatness. Nothing really resonates. There is not tension and very little engagement. That being said though, it doesn't bother me that much. The movie clearly has very little ambition of being more than schlock and succeeds in attaining the level of integrity it wants. It has a level of competency that a lot of really bad movies i've seen this year like I, Frankenstein and Transcendence lacked. I don't get the 3% rating. Its not intellectually offensive or stupid. Its dull, but competent in ways most bad movies aren't. I can give this movie a recommendation to people with proper expectations. If you just want a movie to watch, its fine! Its schlock! ————————————————————————————————————————— ————————————————————————————————————————— Thank you for reading! Live long and prosper! 1 CommentLikeCommentShare

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lostandfoundmagazine · 4 years ago

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LIP’s Lockdown Interview

LIP are the South London band who describe themselves as ‘Ian Dury shagging Fugazi and Funkadelic’, and their latest track 'Thumbs Up/Thumbs Down' is their credentials to prove the claim. The band is comprised of Matt (Vocals), Wailen (Guitar), Ricky (Bass) and Jam (Drums). The debut track voices their opinion on our internet culture, specifically targeting how the internet likes to keep things very black and white, with no shades of grey.

Here’s our uncut conversation with Matt, Wailen and Ricky from the band, where we discussed the latest track in detail, as well as the #saveourvenues movement and future releases.

Can you give us a little context into the song ‘Thumbs Up/Thumbs Down’?

Matt: I think it started when I heard someone talking about how American football is no different to the Gladiators of Rome. Basically, working-class and largely black people are told; tow the line, entertain us and don’t protest. Get brain damage while you’re at it.

That was what sparked the idea. But it morphed into a comment on internet culture. From Netflix to Spotify to Rotten Tomatoes you’re asked to give a binary choice about what you thought about your entertainment. Thumbs up or thumbs down. There’s no room for nuance. The same with twitter. It’s become Judge, Jury and executioner. The gallows. Rotten Tomatoes all round.

What sorts of musical influences went into the creation of the track?

Wailen: Now that would be telling wouldn’t it! I have always been interested and attracted to the idea of bleeding and blending genres I guess. All the best music does it. It’s the Frankenstein monster aspect of it that fascinates and excites people I reckon. Maybe it was growing up mixed race and having a lot of different musical identities and expectations hurled my way? Maybe it’s just undiagnosed ADHD. In my opinion, though it’s the key ingredient to making good music; always has been. It’s just knowing where to stitch the right slabs together, that is the hard/fun part.

Matt: I don’t know about this track in particular but I’d say the lyric writing over the last few months has been influenced loads by Kate Tempest, J Hus and Fontaines.

About 2/3rds into the track there’s a real change-up in the pace of the song, and it takes a more direct approach at delivering the song's message. Why was this?

Matt: Wailen was just being pretentious I reckon. Jazz baby!

Wailen: *Why thank you for noticing Mattius* Again, you should probably take that ADHD test. This is my method (if you can call it that) at least when it comes to writing for the musical side in this group.

It just comes down to minimal thought, or ideally none at all! The less thought, the better. If it sounds good, do it. I’ve also had a little mantra for a while now. Laziness is the mother of invention. Overthinking it, well that’s the killer, isn’t it. I say. Pretentious enough?

It’s great to see you guys getting involved with the #saveourvenues campaign. Which venues are you most looking forward to re-visiting after lockdown? Are there any you’re worried about?

Matt: The Windmill for sure. I don’t live far. It had started to become my living room for a while. That place is what we need more of.

Wailen: It kinda wasn’t a choice really, what’s sadly going on right now is a cultural culling. Be it either through scum like Taylor McWilliams and his millionaire-DJ-playboy cronies trying to dismantle Brixton brick by brick (and segregate it lest we forget) or the Government under the cloak of “you know what”. We had to at least feel like we had given a minuscule hand in our short life span as a band to help.

One of my favourites is, of course, The Windmill. I would go there quite a lot when I was a likkle yoot, it’s one of our top venues to play! Sister Midnight Records (who we just did a live stream for) and Off The Cuff are great. And then there’s Paper Dress Vintage in Hackney. They’re just really nice genuine music-loving supporters. Always play your first gig there if you can kids, it’s great… The list obviously goes on and on but I need to shut up.

Ricky: Well, it wasn’t long after Lockdown began that my Shacklewell Arms withdrawals kicked in. The Shacklewell has always been a bit of a boozy haven for me & I’ve seen countless great bands there… (As well as missed a couple while out front with Wailen & Matt plottin’ world domination). We also had the pleasure of playing there a few months ago which just added to the long (somewhat hazy) collection of memories I have of The Shacklewell.

Like Wailen, I also have to give a shout out to Paper Dress Vintage. Another staple of my East London Venue diet.

Many artists have been releasing music over the last few weeks, even with the complications the lockdown has brought upon them. Has there been anything that has grabbed your attention?

Wailen: Hmm... Not a lot. Apart from our friends POZI who are great, I believe they have a new album coming out very soon, through PRAH Records. I need to rapidly get my ears holes around that. We played a show recently with Baba Ali, he is doing some really interesting stuff. I believe he’s just released a new mixtape too, and hopefully, we should have some more shows with him once this madness is all over. I would have maybe said PVA too, but they seem to be doing alright for press at the minute haha.

When can we next expect to see new music from you guys?

Matt: We recorded loads before lockdown so we’re in a good place. The thing is we discovered a new drum sound for ‘Thumbs Up/Thumbs Down’ so we’re in the midst of reverse engineering a few of the old ones. All that takes a while and a little bit of mixdown jiggery-pokery. That hasn’t really been doable in lockdown as it’s so much harder to communicate when you’re not in the same room.

Wailen: One of the few beauties of lockdown is, there’s nothing to do but write. So not only have we still got the older ones, but we also have a whole stack of new stockpiled stuff to pick at. Like the ripest of spots. Some in their current state are going in a few differing avenues sonically, so that's cool. Who said a little bit of completely unnatural forced isolation wasn’t good for the soul? So again, I concur, we’re in a good place.

Ricky: We’ll be hitting the ground running as soon as lockdown is over so expect some fresh post-apocaLIPs tunes soon!

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arcticmonkeysproblems · 7 years ago

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Can you recommend me some movie?😊

Oooh well.... (Click on the Bold Film name for a trailer)

I recently re-watched a comedy film called ‘What We Do In The Shadows’ which has a 96% score on rotten tomatoes and has Jemaine from Flight of the Conchords and Moana in it. It’s also directed by Taika Waititi who directed the upcoming Thor film.

The Hunt For The Wilderpeople is another comedy with 97% on Rotten Tomatoes. It’s casts Sam Neil who played Alan Grant in Jurassic Park. The film is also Directed by Taika Waititi. Rhys Darby from Flight of the Conchords is also in it

Heck, just watch Flight of The Conchords aye

Heavenly Creatures is a drama I watched in English class -- based on true story -- staring Kate Winslet (AKA Rose in Titanic) and is directed by Peter Jackson (aka LOTR and Hobbitsies man) enough with the NZ stuff pls ben

I watched The Dark Knight recently too -- really good imo -- Ledger plays a brilliant Joker in that one

Django Unchained with Jamie Foxx is also a fave of mine

Das Boot is pretty good - especially if you’re got like 3 hours to spare lmao (or just watch the short one haha) I really like the climax in it

Hotel Rwanda I remember being pretty good -- watched that in English or RE class years ago too

The Back to The Future series is also v nice

Empire Strikes Back is a fave (Star Wars??? one of my favourite series, esp this film) ((I had so many SW legos as a kid omllll ))

I liked the old Ben Hur when I watched it ages ago (used to be reallly into ancient Rome, Egypt and Greece when I was little too)

Jurassic Park is a childhood classic (I used to be obsessed with dinosaurs haha)

I had to watch The Princess Bride for English class years ago and I liked it and so does my mum hahah

Gladiator was another childhood fave ARE YOU NOT ENTERTAINED??

As was the Indiana Jones series - esp Raiders of The Lost Ark

And, of course, Submarine ;)

So here’s a few films I like. it’s literally 4am rn and I’ve just spent like 2 hours sifting through movie trailers oml time for bed

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ablatusllc · 7 years ago

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Wonder Woman Doesn’t Have a 3rd Act

First, some quick disclaimers -- 1) Despite my issues with the execution of this movie, I believe 1000% that women should be cast *a lot* more in leading roles -- say, 50/50 with men? Girls should be able to see ample evidence that they too can be superheroes. Representation matters! (Although, it’s worth noting that writing a female superhero to be literally perfect in every way is somewhat of a disservice. Male heroes always seem to have depth and flaws.) 2) This will only make sense if you’ve seen the movie. 3) SPOILERS ////////////////////////////////////////////////////////////////////////////////////// I didn’t expect a movie with 92% on Rotten Tomatoes to have only two acts, but here we are. Consider the following: **ACT 1 ///** Status Quo -- Secret Island Paradise filled with Bad Bitches. Diana is a scrappy young woman who just wants to learn to fight. What’s her motivation? They never say (or *show*). Why does her mother not want her to fight? Who knows. Lots of exposition while standing around on horses. **Inciting Incident** -- Chris Pine et al pierce the bubble surrounding the island. Robin Wright dies, but no one cares because she’s just an NPC. **External Threat** -- Let’s meet the bad guys! Ludendorff is a very generic Bad German (even though he’s a real dude from history who was actually very interesting), and Dr. Poison wants to… make poison. She has a cool mask, the origin of which is never explained, and a presumably fascinating backstory/personal motivation that’s never mentioned. **Point of No Return** -- Diana decides to leave the island to Save the World with Chris Pine, at which point her mother says something like, “You know you can never return. Sad!” Why can’t Diana return? In any case, she doesn’t seem too bothered. **ACT 2A ///** **Discomfort/Training/Crappier Status Quo** -- One would think that adjusting to early 20th-century London after spending your whole life on a Secret Island Paradise would be difficult or cause some kind of anxiety, but since Diana has no personal hangups/internal conflict and is already a fully-formed badass, this section is just a cute (actually really cute) fish-out-of-water let’s-go-clothes-shopping romp. Also more exposition, and we Meet the Team. There’s no training in here because for some reason Diana already got it done in Act 1. (Like when Neo learns Kung Fu when he’s still living inside the matrix working at his office job. Or when Maximum learns to fight as a gladiator when he’s still a general at the front. Yeah.) **Test Chamber/Practice Fight** -- This is the fight in the alleyway, I guess. **Adaptation** -- Diana already knew how to fight in Act 1, and the Team -- having absolutely no problems with each other and gelling beautifully since the beginning -- don’t need to learn how to work together, so there is no adaptation. In this section, Diana and Co. storm No Man’s Land and liberate a town. (It would be nice if they personally met any of the townsfolk so we’d care when they suffer their ultimate fate, but whatever.) **Midpoint/Complication** -- After a brief Chris-Pine-related delay, Diana kills Ludendorff, wrongly believing he’s Ares the God of War based on her hunch. He’s not actually the God of War -- just a Bad German -- but there’s no complication (or consequence of any kind!) because of this mistake. One could envision the issue of the Big Airplane somehow being consequential or at least exacerbated from killing the wrong dude (because that’s how midpoints work), but no. **ACT 2B ///** **Failure** -- Again, it’s not a big deal that Diana killed the wrong guy. Ares reveals himself to be Professor Lupin. I guess something blows up (I don’t even remember what), and this causes Diana to temporarily lose her hearing. **Paying the Price** -- Chris Pine kills himself and the Big Airplane. **Fear/Darkest Hour** -- There isn’t one. Neither Diana nor the team have any time to reflect or be scared about how fucked up everything is because the rest of the movie happens *right now* in the same scene. **Heroic Moment** -- This is where the protag truly becomes a hero (and we would move into Act 3, if there was one) when she decides to press on in the face of overwhelming odds, and at the same time sheds her Inner Demon. Except she can’t proactively decide to move forward because the SCENE HASN’T ENDED, and it’s only been like a minute. And anyway, the odds seem pretty good. I mean, she’s a god, and so is Ares, so like -- 50/50? And she doesn’t have any Inner Demon(s) at all. At all-at all. She’s pretty much perf, and always has been. **ACT 3 ///** **Escalating Conflicts** -- There aren’t. This is where Diana and Co. *should* take out the bad guys in ascending order, but Ludendorff is already dead, and Dr. Poison is gone, never to be seen again, having run away into the night. (I wonder what happens to her.) **Final Boss Door** -- Nothing here. Diana should meet Ares at a *different location* and at a *different time* and have some pre-final showdown banter, except we’re still in the same scene. **Triumph** -- Diana defeats Ares quite easily, without ever having had to train like a normal protag in Act 2A, or having had to dispatch her internal conflicts (because she never had any, ever) in Act 2B. **Return** -- Nope. (I mean, I guess there’s a return to the framing device.) So in the end, here’s a quick summary of how this all actually plays out: **Act 1** -- Flat, exposition-filled, motivationless (but at least somewhat conventional); **Act 2A** -- Training-less and adaptation-less, but quirky and fun! And Ludendorff gasses a town of anonymous Europeans before being killed by Diana. Neither event matters -- emotionally or functionally. **Act 2B** -- Chris Pine blows up self, then Diana kills actual Ares. *That’s it!* **Act 3** -- ??? What do you think?

#filmblr #wonder woman #writing #screenwriting #screenwriter #dceu #dc comics #story structure #three act structure #chris pine #gal gadot

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downinfront · 7 years ago

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Thor’s got jokes in “Ragnarok,” until the fireworks come

As is befitting a movie about gods and men, we begin at the altar of Rotten Tomatoes. In its infinite, aggregate wisdom, this alleged maker and breaker of box-office fortune has christened Thor: Ragnarok as the best film of the ever-expanding Marvel Cinematic Universe with a hosanna of 93%. That’s divine enough to top 2014′s Captain America: The Winter Soldier (89%), largely (and incorrectly) considered to be the best Marvel flick, as well as both installments of Guardians of the Galaxy, largely (and correctly) considered the best of the MCU’s intertwining franchises.

As Marvel flicks go, that puts Ragnarok in rarified air. Only the first Guardians 91%), the third Captain America (90%) and the recent Sony halfsie Spider-Man: Homecoming (92%) have managed to sniff the same critical heights as Ragnarok, but what befuddles about this particular benediction from cinema’s merciless sabermetric god is that the Thor flicks have generally garnered a lot less respect than they’re owed. Even without taking The Great Tomato into account, The God of Thunder’s original outing in 2011 has largely been forgotten by the faithful, while its 2013 sequel is generally (and incorrectly) considered to be the worst of the Marvel flicks. (For those of you who are asking: 77% for Part 1; 66% for Part 2; and the worst Marvel movie is this -- but in fairness, it is close.)

And true, the thunderous hoo-ha of a frat-bro deity is and was hardly groundbreaking material -- we were less than a decade out from Lord of the Rings when the first Thor bowed -- but what always made those movies better than they appeared to be was that they were funny. Both the pop Shakespeare of Kenneth Branagh’s original and the campy bombast of Alan Taylor’s sequel had a sneaky sense of humor that provided the backbone to all the mystic mumbo-jumbo, even if the jokes inevitably had to defer to it. Ragnarok does too; director Taika Waititi ultimately succumbs to the Marvel Commandments same as his forbearers. But before that happens, his movie is a sprightly, hilarious affair, and crucially, it’s as weird as you’d expect from the guy whose biggest effort to date was a mockumentary about bored vampires in New Zealand.

What I’m trying to say is: This time around, Thor’s got jokes. Good ones, too, and strange ones. Lots of ‘em. He’s got zingers, he’s got banter, he’s self-depreciation, he’s got that skeeved-out thing movie bros do when one of their bros walks in front of them naked and they can’t make eye contact with said bro. And Chris Hemsworth, who has rocked and rolled as the thunder god since Day One, delivers it all with the relish you’d expect from a man who’s been sprung from a faux-Shakespearean prison and told to let his freak flag fly.

Of course, before then, there is a requisite bit of board-resetting to attend to, and the script (by Eric Pearson, Craig Kyle and Christopher Lost) yada-yadas away the franchise’s loose ends with an efficiency so ruthless that it’s almost a joke unto itself. The disappearance of Odin (Anthony Hopkins) is resolved via a funny cameo by Doctor Strange (Benedict Cumberbatch), and Thor’s running mates are whacked so heartlessly that poor Zachary Levi doesn’t even get a line off before he meets his maker. Jaimie Alexander is spared because she’s not in this one (praise be to Blindspot), and Idris Elba lingers because nobody in their right mind would dare kill him, though he’s got a forgettable plot. (Ironically, the only director who knew what to do with Elba in these movies was Branagh, who altered his voice and gave him an otherworldly presence the sequels diluted into the garden-variety swagger of your average swashbuckler.) Thor’s hammer is destroyed with the arrival of Cate Blanchett’s vamping Hela, Goddess of Death, he and Loki are banished to a junkyard planet, and there our story begins.

That setup strips the franchise to its barest bones and sets up a story that skews closer to the original Star Wars than the Guardians movies ever really did. Thor encounters all manner of outsize, intergalactic personalities, most notably a drunken Valkyrie (Tessa Thompson) and the Grandmaster (Jeff Goldblum), the preening emcee of an intergalactic gladiator ring whose reigning champion is none other than the Hulk (Mark Ruffalo). it’s an absurd premise, even by comic book standards, and the movie, and its stars, have a lot of fun with it. Thompson is swagger incarnate; Ruffalo is a walking panic attack and Goldblum delivers the kind of performance that suggests he is, indeed, aware of his Internet reputation and has decided to live up to it. Hopkins, meanwhile, is livelier than usual in his handful of scenes, though in fairness he might just have been happy he only has three of them.

Hemsworth and Hiddleston have struggled somewhat outside the umbrella of this franchise, but as Thor and Loki, they tend to not skip a beat. Waititi rightfully recognizes that the best thing about the first two movies were the way the characters played off each other, so he leans away from the melodrama of their Avengers storylines and back into familial squabbling. The difference here is that he allows it to go somewhere. As Thor wises to Loki’s tricks, Hemsworth grins with the self-satisfaction of a jock who finally manages to outsmart his Ivy League brother, while Loki finds a genuine heroic streak that is still somewhat shadowed by his little-brother inferiority complex; you get the sense that he could live with being upstaged over and over again if Thor just wasn’t so petty about it.

It’s all unexpectedly good stuff, and Waititi keeps the engine humming and the funny coming, at least until the big finish. You see, every Marvel movie must end in a giant, CGI fight scene of some kind; it is the blood price to be paid for whatever originality the director of the day is allowed to inject into the script. Spider-Man’s John Hughes high-schoolery pivoted with a fistfight on a jet; the Avengers’ squabbling landed them in the path of a robot James Spader and his armies, et cetera. Here, it’s the big fight between Thor and Hela for the fate of Thor's homeworld. Only we don’t really care enough about her to be invested in the result, which unfolds, of course, according to the prophecy of the one-off villain. That’s a shame, because she’s got enough presence to make you wish she could stick around, but her very character is a stopgap between Thor and what’s to come. (As her morally conflicted lackey, Karl Urban is ten times more interesting, if twenty times more disposable.) It says something about Waititi’s vision that he still manages to pivot to a delightfully quirky ending, but then we’re onto the credits and a teaser that finally -- finally -- tees Thor up for the long-awaited Avengers: Infinity War that will tie all the Marvel flicks together for a fate of the universe adventure.

That we’re at last approaching the finish line is something of a relief, but it’s also a bit of a downer considering everything that came before. For all Waititi’s ingenuity, he’s operating within a larger framework, and beholden to a sacred text that he can only deviate from so much. The lingering lesson of Thor: Ragnarok is that a Marvel movie can be genuinely funny and the fates of a franchise can be reversed, but it will always be a Marvel franchise first and foremost, which means the most important movie is always the next one. It is truly the hungriest god of all, and it cannot be stopped. It can only be fed.

#thor #thor ragnarok #thor 3 #chris hemsworth #tom hiddleston #taika waititi #thor review #thor ragnarok review #marvel #marvel cinematic universe #movies #2017 movies review

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denimbex1986 · 2 months ago

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'...Ripley

" Ripley " tells the story of a con artist named Tom Ripley who receives a tempting offer from a wealthy man. He is supposed to travel to Italy and search for his son. There, Ripley delves into a dubious world of fraud and murder that changes his life completely.

Genre: Drama, Mystery, Thriller

Creator: Steven Zaillian

Cast: Andrew Scott, Dakota Fanning, Johnny Flynn, Eliot Sumner, Margherita Buy

Rotten Tomatoes rating: 85

Netzwelt recommendation: Director Steven Zaillian has managed to arouse the interest of viewers with the eight-part mini-series and is even planning further episodes that will delve even deeper into Ripley's extensive web of lies. Another reason to watch "Ripley" is lead actor Andrew Scott, who shines with his performance. Scott has already proven his skills in the comedy series " Fleabag " with Pheobe Waller-Bridge and in the drama "All of Us Strangers" with Paul Mescal (" Gladiator 2 ")...'

#Ripley #Andrew Scott #Steven Zaillian #Dakota Fanning #Johnny Flynn #Eliot Sumner #Margherita Buy #Phoebe Waller-Bridge #Fleabag #All of Us Strangers #Paul Mescal

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rafaelribeirosoares · 7 years ago

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I was not expecting this much fun! And if you ask me to compare the last two Thor movies to this one, I can’t say for sure, but I don’t remember them to be as funny as this one! The crowd laughed hard. I laughed hard! I had to contain myself because I was bursting into laughter every now and then, and when I noticed it, I thought to myself that I should be a little bit quieter… But no! People were laughing as well!

The film begins explaining what Thor has been doing for the past two years, as it does for Hulk as well later on. The God of Lightning returns to Asgard with an important prize, the Crown of Surtur, which added to the warm of the Eternal Fire (or Flame), Surtur the employer of Ragnarok, a prophecy that foretells the destruction of Asgard would actually plunge the realm into nothingness.

Thor arrives at home and quickly uncovers Loki’s identity since he was disguised as his father Odin. This is not the same dull and plain Thor that I remember. He has grown and there are several references to his personal growth across the whole movie. Once the Crown of Surtur is locked within the Asgardian vault, Loki and Thor set out to earth to retrieve his exiled father. Ah, I forgot to say, Heimdall was banished and branded a traitor due to Loki’s command while disguised as Odin and was replaced by Eomer of Rohan… Clearly not, his name is Skurge.

Loki and Thor then set their course to Earth to find their father and after a brief, unexpected but very exciting interruption, they find him at the fjords of Norway. They were late, Odin was deprived of his link with Asgard and his final moment was upon him. His life force was keeping something imprisoned and with him out of the way, Hela, Odin’s firstborn daughter would emerge to take Asgard and continue the conquest that she and her father had begun ages ago. But she wouldn’t stop by just nine realms.

And so it happened. Hela appeared right before Thor and Loki once Odin was out of the picture and she stomped their asses on the spot and Mjolnir, Thor’s hammer, was shattered to pieces. In their moment of despair, Loki asked the guy in charge of the Bifrost to teleport them back. Hela was not born yesterday and she got into the teleporting beam as well, kicking both Loki and Thor out of it, thus leaving them to their fates through the stream of time and space.

Thor is captured on another planet by a former Valkyrie and forced to fight in the arena. He was matched right at the start with none other than the Hulk. He finds Loki afterward and together with Valkyrie and the Hulk, the Revengers (lol) planned an uprising with the other gladiators in order to bring down the Grandmaster, the boss of this futuristic steampunk inspired city named Sakaar where they are imprisoned.

The Grandmaster

With a lot of humor and action in between, the Revengers (lol again) reach Asgard and come up with a plan to stop Hela from reaching her Godlike status, since she only grows stronger while on Asgard. Heimdall managed to steal the sword that activated the Bifrost and led the refugees to a safe haven while Hela was on her business to resurrect the bodies of fallen Asgardians. So in the end, the people of Asgard managed to flee in a huge spacecraft, but Ragnarok was unleashed and Surtur turned the mythical realm into a massive wave of dust! Boom it’s over, roll the credits.

It is time to set the fanboy aside and talk about this awesome movie! First of all, let’s talk about the action. It is top notch. There’s not much science to it, I confess and I’m one that prefers battles with science, abilities, and calculations. But it is not really measured in terms of strength, agility, intelligence and power/stamina. They’re entertaining despite that fact, but I believe that a little more science in the big fights would not hurt the movie in my view, but would surely hurt the pace of it.

Comedy. Ladies and gentleman, this movie rivals Guardians of the Galaxy Vol.2 and could potentially be a little bit above it if we count the times that I laughed out loud inside the theater. It is that good! And there are some jokes that are completely unexpected! What a breeze of fresh air Thor: Ragnarok is!

As for the story, it was very well paced with a smart part that caught me entirely by surprise! On the past MCU movies, we’ve noticed that the set is being prepared for Infinity War and Thor: Ragnarok is not an exception. The characters evolve as the film plays out and we get a clear picture of everything that is happening. I haven’t felt lost at any point during the movie so you probably won’t feel like that either. The only point that comes to my mind is that Hela could have been greater as a villain for someone who wears the Goddess of Death title… Right? She is quite comprehensible actually. She comes back to Asgard and says that now that Odin is dead, she is the rightful queen to the throne, which is correct. And she only really kills the Asgardians because they oppose right at the start without any diplomatic attempt… After that, she only raises the dead and tries to find the sword to activate the Bifrost so that she can go and conquer more worlds… Which in truth, it turned out to be a long waiting time for the Revengers (last lol) to appear and deal with her. Apart from that, everything is awesome in my book!

Thor: Ragnarok is definitely worth your time and your money. It has an 8.2 out of 10 stars at IMDb and an amazing 96% at Rotten Tomatoes! Go watch it! You’ll crack your ass laughing above all else!

Thor: Ragnarok – Was Thor This Funny Before? I was not expecting this much fun! And if you ask me to compare the last two Thor movies to this one, I can't say for sure, but I don't remember them to be as funny as this one!

#cinematic #comment #Commentary #film #Hela #Hulk #Loki #Marvel #MCU #Movie #Odyn #opinion #review #Thor #Thor: Ragnarok #universe

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