Hi everyone. Thanks for stopping by.
My name's Craig and reside in the UK. I am a big fan of all kinds of movies and video-games, and occasionally write fiction when I get the time. I work as an administrative assistant 9-5, five days a week and enjoy it very much.
For more info, please read the 'About me' section on my blog.
Bye for now.
I tend to approach a movie directed by Christopher Nolan with a degree of expectation. Over the years he has earned his place as one of the most skilled directors around, with acclaimed works such as Inception, Interstellar and of course The Dark Knight trilogy. This latest has him attempt the spy / espionage sub-genre and you do get the impression he’d make a helluva Bond movie – but this gives the genre Nolan’s own unique spin. So how does it fair?
Before get to that let’s go into the plot. A CUA operative (John David Washington) gets embroiled in a complex plot to over throw a Russian arms dealer (Kenneth Branagh) who seems to have stumbled upon a top secret weapon that could mean the end of the world. This weapon has something to do with time inversion, where objects or people can be inverted so they work in reverse of perceived time, therefore manipulating the world as it see’s fit because it’s already happened. The movie has us grapple with this high-brow concept whilst delivering exhilarating, unique action set pieces (the freeway heist) I felt only a director of Christopher Nolan’s calibre could pull off. The plot is confusing at first as our protagonist tries to stop a mad man whilst grappling with the fabric of time itself. Yet it’s a time travel movie done in a way I don’t think we’ve seen before, … that’s head-scratching but also awe-inspiring, with all the necessary ‘aha’ moments when certain details fall into place. This is rather ingenious writing that I’ll admit to not really being clever enough to unravel on first viewing.
Beyond the complex ideas at play, there is also the matter of stunning IMAX photography, which is more plentiful here than in the director’s previous work aided by a reliance on large-scale stunt work, practical effects and grandeur. The movie globe trots from eye catching locale to eye catching locale and it all looks lush. Performances ranging from Washington’s cool as ice Protagonist to Brannagh’s scenery chewing villain are decent, even if plot exposition can get lost in line delivery that’s often mumbled (and occasionally drowned out by the movie’s score) The fact this movie is hard to follow is really it’s only failing. Otherwise it delivers action, scale and imagination that’s on a different level. Perhaps not Nolan’s best, but certainly up there with some of his other movies if given the attention it deserves.
Well I realise I skipped a year, as I wasn’t well last Christmas. This year I’m in much better health and can post my usual Yuletide blog post. This year I got some lovely prezzies, my usual Scarlett Johansson calendar, the Criterion release of The Irishman, Tenet in 4K UHD, the official guide to Cyberpunk 2077, two framed movie prints (Taxi Driver & Pulp Fiction) with signatures, a FunkoPOP of The Mandelorian’s The Child, … as well as clothing, smellies, chocolate etc. Very very nice.
I hope everyone I got prezzies for liked what I got them, and I send my Christmas thank yous to all the visitors of this blog and hope you have a great Christmas and a happy New Year (let’s hope 2021 is a vast improvement on 2020).
The sport of Wrestling has ever really appealed. The most exposure I ever had to it was seeing Big Daddy lay the smack down on World of Sport when I was a kid. However it has to be said, the sports movie has often been surprisingly great, and this little gem is no exception. The true story of the rise to fame of female wrestler Paige, who from humble beginnings with her wrestling obsessed family in Norwich, gets plucked by a coach who sees something special in her and gives her a chance to try out for a place in the WWE.
Florence Pugh, who first caught my eye in the unsettling Midsommer is great here as is her support cast including Vince Vaughn and Nick Frost. I especially enjoyed the bond Paige has with her brother and how it gets tested through the course of the story, leading to some quite heart-wrenching moments. It’s also laugh out loud funny in places, helped by a sharp script from Stephen Merchant (who also directs).
As a rise-to-fame journey, yeah it’s cliched with a believing in one self ark and a coach / mentor who’s tough yet secretly a nice guy … but that’s not always bad if it’s handled as well as this. A highly entertaining, well acted and feel good experience I couldn’t wait to talk about. A must see.
Well the most highly anticipated game of 2020 is now the most controversial with a launch that didn’t exactly go to plan. Developer CD Projekt Red is currently on damage control after misleading gamers and journalists about the state of the game on last-gen consoles, specifically base PS4 & Xbox One. Thankfully I’ve been playing it on PS5 where it has fared somewhat better with (up to) 60fps, although frequent crashes and occasional bugs still plague the experience for me. I’m hopeful CDPR will sort many of these issues over the next couple of months and that the new consoles get their proposed ‘next-gen patch’ – but until then, what’s the game like to play?
I’m having a lot of fun it has to be said and despite some of the negativity surrounding this game right now, it can’t be argued that as far as story, characterisation, setting and gameplay is concerned, this is really good. Performances, especially in missions of other characters is very convincing as is my own character who’s voice actor really conveys emotion (I’m playing as a female V). I’ve only touched the surface of the levelling up, customisation etc and even after 20 hours have yet to really get into the cyberware or ‘smart’ weapons. Exploring night city is great too – the design of the layout, buildings, neon all very convincing and impressive. There seems lots of hidden away areas, alleyways, bars, shady characters, prostitutes, gangs and sex & violence around every corner. Yes it’s very mature but in a comic book kind of way that definitely has tongue planted firmly in cheek. The RPG elements are cool but a bit fiddly and the hacking doesn’t feel that intuitive. However there is a ton of content, what appears to be a very well thought out story and plenty of side content that’ll keep me busy for a long while.
Of course I must mention the bugs. On the PS5 it’s far from the horror story reported by users of other platforms as detailed above, but crashes that send you back to the PS5 hone screen are frequent. Also for a world this detailed, it’s looks can be inconsistent. Some streets and interiors look jaw dropping, whilst others look bland and rather last-gen (this admittedly is basically the PS4 Pro version) and is in need of polish in many places, and well, pedestrian NPCs that have some personality! Lol. But these are all things I have faith CDPR will fix – they have to to regain the image they once had in wake of The Witcher 3.
So if playing this on PS5 (and reportedly Xbox Series S & X) or especially on a high-end PC … this is (almost) the game we have been eagerly awaiting. However if you’re stuck with a last-gen console, wait until it gets the patches it’s been promised – but don’t expect miracles. Despite information to the contrary, this game was always next-gen & PC experience. Just a shame CDPR felt the need to try and please everyone.
Very few directors could deliver a movie with subject matter such as this and make it work, without it being exploitation trash, but in the hands of David Cronenberg (The Fly, A History of Violence) what remains an uncomfortable viewing experience somehow still took hold of this viewer. James Spader plays a guy fascinated by car crashes and aroused by the thrill of injury, twisted metal and the sheer violence of it all. Aided by his girlfriend (The Game’s Deborah Unger) they pursue this unhealthy obsession until Spader ends up in hospital. There he meets fellow crash victim Holly Hunter who he discovers is a kindred spirit and before long he’s lead into an underworld of like-minded people who find sexual arousal in near death experiences.
Acted from the off by all involved like they’re on the brink of orgasm, this highly sexual drama is just plain weird and has an atmosphere I’ll admit was initially hard to get into. Cronenberg’s direction however makes everything eerie, borderline hypnotic and very dream-like. However not for a second is it sexy, as Cronenberg gives each sex scene an unnatural and animalistic vibe that’s closer to his brand of body horror than say, Basic Instinct … but it works.
James Spader is perfectly cast, as is Deborah Unger, actors both at ease with uneasy material. However one surprise was Holly Hunter who I’d never usually associate with this kind of thing. Elias Koteas (Zodiac) stands out as a rather freaky medical photographer obsessed with staging recreations of famous car crashes. We also get Rosanna Arquette as a woman in leg callipers who’s involved in a particularly infamous scene. Overall this was a difficult watch. I appreciated much of the atmosphere and the perverse subject was strangely alluring… but was I entertained? No. Worth seeing but definitely not for everyone.
Crash remains quite the controversial movie, and this new, fully uncut limited edition from Arrow Video explores it impressively. The restored 4K Ultra HD image is grainy and nicely detailed, with only occasional softness. However, despite mention of HDR this isn’t a showcase for your TV setup. The same goes for the 5.1 DTS HD Master Audio soundtrack that’s made up mostly of gentle dialogue and Howard Shore’s haunting score. The surrounds get a mild workout mostly in the various driving / highway scenes but nothing all that diverting. However it’s the extras where this release shines. There is a comprehensive booklet covering the making and legacy of the movie, various interviews, featuretts, some David Cronenberg short films, and a commentary by film scholar Adrian Martin. Add to this a double-sided poster and deluxe hardback slip case packaging and this is decent treatment for a polarising yet still worthwhile entry in Cronenberg’s back catalogue.
Mensen maken de samenleving en nemen daarin een positie in. Deze website geeft toegang tot een diversiteit aan artikelen die gaan over 'samenleven', belicht vanuit verschillende perspectieven. De artikelen hebben gemeen dat er gezocht wordt naar wat 'mensen bindt, in plaats van wat hen scheidt'.