Review πŸ‘‰ Johnny English Strikes Again


Johnny English requires very little brain power to enjoy. In fact, it might be better to turn off your brain all together. Instead, enjoy it for its physical comedy and you’d get a great laugh out of it.






There are very few people who don’t enjoy comedy series, Mr. Bean. With the titular character, Mr Bean played by Rowan Atkinson, the hit comedy series was enjoyed by people all over the globe, bypassing culture and language barriers, all because of its focus on physical comedy.
Then in 2003, Atkinson created another, similarly goofy character with a penchant for physical comedy, Johnny English. It spawned a sequel in 2011 and this year, Johnny English strikes again.
In this newest instalment, Britain is hit by a cyber-attack that exposes all of their secret agents’ identity (just like what Chelsea Manning did, but a little more stealthily). With all their agents’ position compromised, MI7 has no choice but to turn to their retired agent, Johnny English.
As with previous Johnny English movies, Johnny English Strikes Again follows the same plot, that English, for a very silly reason, is the only person the MI7 is able to deploy for a very important mission. Through sheer will and an enormous amount of luck, English manages to save the day.
It’s a simple plot with very obvious plot twists ahead. There were a few cringe-worthy moments that really didn’t need to be there (the less said about the dance floor scene, the better), and for a movie centered around technology, there were way too many moments, including some crucial plot points, that did not follow the rules and laws of technology (that’s not how VR works people).
Watching this movie requires a lot of suspension of disbelief. None of the stories can or will ever happen in real life, but picking this movie apart will take the enjoyment out of it, so it’s better to just accept it for what it is.
Once we can see past the ridiculous plotline, it becomes immediately obvious what this movie is really about: Rowan Atkinson’s physical comedy, of which he is a master of. In a time where most comedy relies on clever dialogues, it’s refreshing to see a movie with Chaplin-esque comedy. There were many times where the audience laughed because of how ridiculous Atkinson’s English looks.
Angus Bough (Ben Miller) makes a great straight man to English’s funny man. His devotion to English is also especially adorable. Ophelia, played by Olga Kurylenko, is the hot foreign spy and sadly, her performance is somewhat forgettable, as if her presence was only to fill in the hot foreign spy trope and nothing else.
Emma Thompson plays the Prime Minister, but seeing this Prime Minister, you’d question why such a person was ever chosen to lead a country. She’s messy, uncoordinated, and a bit of a foul mouth and the great actress is simply not the most enjoyable thing to watch. Again, there’s that suspension of disbelief in play, that a woman with all those qualities could ever be considered to be the leader, let alone actually lead the country.
Overall, the movie is enjoyable for its physical comedy. There’s a moment near the climax of the movie, after all the unbelievable plot lines and dialogue, where Rowan Atkinson shows what he’s good at. It was a moment of pure silliness and ridiculousness that almost made up for just how stupid the moments before it was. And that pretty much summarises this whole movie: silly and ridiculous.












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Review πŸ‘‰ Peppermint


On paper, having the guy who directed Taken bring in an unlikely female action hero and have her wreck shop in a full-blown, guns blazing revenge thriller sounds like a good enough idea. Unfortunately, Peppermint is something that sounded a lot better on paper than it ultimately ended up being. Despite a really solid, unexpected and very compelling performance from Jennifer Garner, this doesn't really rise above the level of very average when it comes to such action flicks, a few very visually exciting sequences aside.
Peppermint centers on a woman named Riley North. She awakes from a coma only to be reminded that her husband and daughter were brutally murdered in front of her. Even though the grieving mother is able to identify those who killed her family, they happen to be part of a very powerful drug operation who have their hands in everyone's pockets, including the judge who lets them go free. Instead of going to her court-ordered mental facility, Riley escapes and spends years planning her revenge. Upon her shocking return, she's a new woman complete with a particular set of skills that she's going to use to burn those that wronged her to the ground.
The movie has a more than good enough premise and a director who clearly knows his way around an action movie. But Peppermint mostly feels like a melodramatic, at times corny and tragically stereotypical exercise. It feels very much like a grab bag of things we've seen plenty of before. One part Taken, one part The Punisher and a healthy does of Death Wish. Sometimes that grab bag approach works. In this case, not so much. There are moments of great humor and very entertaining, extra-violent sequences. Director Pierre Morel hasn't really ever suffered in that department. In this case, he just couldn't manage to elevate the material above cop procedural meets slightly-better-than-Red-Box thriller.
Perhaps the biggest tragedy in this whole thing is the idea of turning Jennifer Garner into an action star at this point in her career is a pretty awesome. She tried with Elektra and, as we all know, that didn't go so well. Yet, Garner has worked a lot over the years and is an actress who is in many ways underappreciated. It was a cool idea to have her do something like this and it's a damn shame she didn't get a better a movie to do it in. Garner really looks the part, acts the part and pours herself into it. She is easily the best thing about Peppermint. But it only serves to frustrate because none of the performers around her, save for the stunt guys doing good work when the bullets are flying, don't come up to her level. It feels like she really put the work in. It was a good idea executed to a disappointing level of success.
With Peppermint, it's not even a case of this being a terrible movie. It's certainly not going to ascend high on anyone's list of great action movies or revenge flicks, but it's not an unmitigated disaster or total schlock fest. It's just disappointing. This felt like something with potential that it never comes close to living up to. And with a movie like Mission: Impossible -Fallout still in theaters, it would be downright irresponsible of me to recommend one actually go spend their hard earned money to see STX's latest. But please, someone give Jennifer Garner another shot at being an action hero in a better movie.








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Review πŸ‘‰ The Nun

First appeared in the movie The Conjuring 2, and had a cameo at Annabelle: Creation, Valak, or the devil in the form of a mysterious nun this time got special attention through The Nun.

Action and looks creepy. Director Corin Hardy (who once made The Hallow) gave many surprises through unexpected scenes and surprising music throughout the film.

The continuous shock effect then makes the audience will be at one point to not stand not laughing because of it. Laughing at yourself and how nervous and stupid the characters in the movie are who like to walk alone in the midnight grave.
Incidents in the old church

The Nun was opened with a scene in a castle building that was transformed into an old, scary church in Romania, in 1952. Two nuns carrying only a teplok lamp as lighting was in infinite fear. They stopped at the door that said 'God Ends Here' or 'God stopped here'.

One of them then suddenly 'disappeared' behind the dark because of a mysterious figure. Another nun ran frightened to save herself and then died 'hanging herself'.

This incident became a case which was later investigated by Father Burke (Demian Bichir), and Sister Irene (Taissa Farmiga) sent by the Vatican church of Rome. Both met with Frenchie / Maurice (Jonas Bloquet) who witnessed the discovery of the corpse of the dead nun hanging himself.
For the sake of the investigation effort, the three were then 'forced' to enter the scary and feared old church to find out what was the cause of the incident. Investigations that make them trapped in various strange and creepy events.

Irene, like Lorraine's character at The Conjuring, has the ability to see 'the invisible with the naked eye'. The vision he had was related to the figure of Valak (Bonnie Aarons), the devil was in the form of a nun, which was dangerous and took many victims. In his vision he also met other nuns, Sister Victoria (Charlotte Hope) and Sister Oana (Ingrid Mute).

In the last half of the film, the three main characters must survive among strange events, from being buried alive, whipped, thrown into the air, and or hit hard objects.

The Nun film gave a relentless shock effect.






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Review πŸ‘‰ Searching


Searching is the new thriller directed by Aneesh Chaganty. Widowed father David Kim (John Cho) searches for his missing teenage daughter (Michelle La) with the help of multiple laptops and hard-talking detective Rosemary Vick (Debra Messing). All the action takes place on screens; the mystery unfolds through texts, FaceTime, YouTube and video blogs.

While some may have their doubts about watching what is essentially a filmed set of screens for nearly two hours, this unusual set up soon feels natural. After all, many of us spend a lot more than two hours without looking away from a screen in our daily lives.

The portrayal of familiar online habits on the big screen is cleverly used for comic effect. The constant rewriting of messages and the replacement of the jovial exclamation mark for the famously passive aggressive full stop is fully relatable and funny to watch. Some of the visuals are also arresting because they are taken out of their familiar context. Most notably, David’s screen saver is transformed into an enormous malignant jellyfish when shown without the borders of a laptop.
The clever parallels between the title, Searching, and the extensive use of search engines (particularly Apple’s “Finder”) throughout the film invite us to look at how we use the internet. Google asks us to “Search Google or type URL,” but when the missing object is a person rather than the answer to inane questions, these words take on a much more frightening currency.

Searching maintains a fantastic tension throughout the search for Margot. The contrast of the horror of the situation and recognisable ordinariness of the technological format is extremely effective in unsettling the audience.

The twists are truly chilling. By the end, there are perhaps just too many wrenching turns, which slightly dents the believability of the film. This is the only thing stopping Searching from getting a solid five-star review. It is a wonderfully sharp, brutally tense and inventively shot thriller that shows the blossoming possibilities of technology in film.







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Review πŸ‘‰ The Meg

MaryAnn’s quick take..


Jason Statham versus a giant prehistoric shark. It’s never less — yet also never more — than you expect, and never more suspenseful or scary than it is cheesy. But whatev.


What, you need more?
Okay.
Jaws’ reputation as the best shark movie ever is safe, but yes, they’re gonna need a bigger boat. Jurassic Park’s reputation as the best ancient-creature-in-the-modern-world movie ever is safe, but yes, the scientists were so preoccupied with whether they could, they didn’t stop to think if they should. Oh, they’re not genetically engineering enormous extinct ocean predators here, but there’s definitely some meddling in realms that humans were not meant to blah blah blah.
More?
Are you ready for this?
Stath goes hand-to-fin with the giant prehistoric shark.
If that is not enough for you, then you needn’t bother with The Meg. You are not among those being pandered to with this movie, which is very ecumenical in its pandering:
• There’s the literary crowd: Statham’s (The Fate of the Furious, Mechanic: Resurrection) deep-sea-rescue diver is haunted by the spectre of the monster that killed his crew — his best friends! *stifles manly sniffle* — five years earlier. A creature that no one believed him when he said it existed. But now! Vindication and revenge shall be his — maybe — Moby-Dick style.
• There’s the classic-sci-fi crowd: The Megalodon, the giant shark, has been disturbed from its hidden underwater realm, a place cut off from time or evolution or whatever, just like The Lost Continent, except on the ocean floor.
• There’s the “Chinese production money must be acknowledged” crowd, so we get significant sequences set in Shanghai, and a cast that also features the awesome Bingbing Li (Transformers: Age of Extinction) — as the scientist who knows sharks, and whose offshore research station is ground zero for the shark havoc — and adorable little Sophia Cai as her daughter.
a Seriously, Statham has found a terrific niche for himself starring opposite badass little girls; see also 2012’s Safe and 2013’s Homefront. He and Cai together onscreen here are non-shark highlights. He is thoroughly charming with little girls. So there’s another crowd being pandered to: the one that likes to see tough guys softened by kids.
• There is the crowd that is grateful for totally and pointedly gratuitous male nudity, a crowd that is sadly almost never appeased onscreen. Statham doesn’t even do anything for me, and yet I was delighted to be pandered to in this way. Thank you, The Meg.
That said, the crowd that appreciates cheesy movies — I count myself in this one — may be just a tad disappointed. The Meg is certainly more cheesy than suspenseful or scary, but even cheesier still would be better. The script — by Dean Georgaris (Tristan & Isolde, The Manchurian Candidate) and Jon and Erich Hoeber (as a team: Red 2, Battleship) — leans on so many clichΓ©s of action melodrama and disaster flicks. But it never leans quite hard enough. You’re never really sure if the movie intends to make you laugh at the terrible and often histrionic dialogue, or if it’s genuinely offered as would-be serious and emotional drama. I laughed out loud quite a few times. Maybe it doesn’t matter whether the movie wanted me to or not. But I think if it wanted me to, it would have done it more often. Director Jon Turteltaub (The Sorcerer’s Apprentice, National Treasure: Book of Secrets) seems to want to tightrope between comedy and horror, and so the movie doesn’t totally satisfy in either direction. (This is based on the bestsellling novel of the same name by Steve Alten, which doesn’t seem to bear much resemblance to what ended up onscreen. The book also doesn’t sound like it is meant to be funny.)


The Meg isn’t quite as much big dumb ridiculous fun as Rampage, from earlier this year, in which the Rock and his giant gorilla pal fight a giant croc and a giant wolf. (There’s only one species of big bad here, alas.) It’s never less — yet also never more — than you expect. But as big dumb ridiculous action movies go, this one… well, The Meg will do until the next one shows up, though it will probably already be forgotten by then.







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