Julio Quintana’s Blue Miracle opens with a lonely Omar (Jimmy Gonzales), sitting in a boat in the middle of a never-ending sea, reliving a traumatic event in his childhood that caused his father’s death. The match-cut of the seawater enveloping the screen, which transitions from Omar’s spiritual world to the real-world as he wakes up from his nightmare, sets the stage for a visually refined biopic that’ll try to rise above the formulaic structures that previous “based on a true story” against-all-odds family pictures have already preestablished. Blue Miracle standardly chronicles the against-all-odds story of Casa Hogar, who, to avoid foreclosure by the bank and pay off their debts, participate in Bisbee’s Black & Blue Fishing Tournament with two-time winner Wade Malloy (Dennis Quaid), a washed-up fisherman stuck in the past. With the Casa Hogar children, he’ll learn to grow to be a more welcoming individual and go back to his family after dismissing them for so long. It’s a story we’ve all seen before, done in more impactful films. Still, Blue Miracle rises above its formulaic structure by offering a polished visual style and gripping performances from its two leads.
It’s been a while since a “based on a true story” biopic has tried this hard to veer off the preestablished three-act formula through its visual style, and Blue Miracle very much succeeds in that regard. The film’s ethereal dream sequences are immaculately shot and composed, with a lush pink sky acting as a visual metaphor to Omar’s hopes and dreams, even though his life has been nothing but hardships and despair—losing his father, living alone in a violent city and having to help orphan children who were told they wouldn’t have a promising future. He must be the voice of hope for the children of Casa Hogar, even if he himself doesn’t believe to be one. It’s a particularly heartbreaking performance Jimmy Gonzales gives, knowing that if the fishing tournament doesn’t work, every single kid who lives at Casa Hogar will end up on the streets. It becomes his engine once they catch the winning Marlin, and Omar is forced to reel it in from the water, in the film’s most suspenseful sequence, even if we know the outcome.
The tournament lasts three days, and, obviously, Casa Hogar will catch the winning fish on the 3rd day. The movie’s called Blue Miracle, after all—it must be an against-all-odds/life-or-death situation. Even if we know exactly how the film will end, Quintana still manages to make Omar’s reel in of the Marlin incredibly suspenseful by cutting back and forth to his dark past and his eyes widening at the prospect of being able to provide for every child who lives with him. His aggressive movements on the fishing rod perfectly showcases his determination and willingness to support his children and give them hope for a better life. All of this works incredibly well when paired with Dennis Quaid’s Wade Malloy, who, at first, does not want any of the children on his boat but slowly grows fond of them, which will hopefully help him rekindle with his family, who he desperately wanted to impress by winning the third tournament. He (predictably) realizes that it’s not about the trophies that’ll make him a better man, but the way he acts towards his son and wife, that’ll dictate if he’s a good parent or not. All of this has been (over) exploited in better movies, but Quaid’s performance adds greater emotional levity to the film’s quasi-manipulative core.
I can’t help but respect and admire a movie that tries to do something different, even if it can’t really escape the clichés of the “true story” pictures—the characters that were reticent and/or distant at first with Casa Hogar will, obviously, cherish them at the end and, by some “miracle,” they will win and pay off all of their debts and not have to worry about seeing more kids in the street, just like Omar lived part of his life in. Quintana doesn’t need to present the violence of Cabo San Lucas, he only (briefly) does it once, and everything else becomes self-explanatory afterwards. He tries so hard to avoid the clichés of the against-all-odds biopic by offering a brand-new and unique visual style to the movie and immaculate match-cuts that act as some of the most original transitions I’ve seen since Darren Lynn Bousman dared to do something different in Saw IV. Yet, the clichés are found in its script and naturally insert themselves in its story, preventing Blue Miracle from truly reeling in the audience as it should be.
Still, I wasn’t expecting anything grand from this movie—the trailer made it look like a “dumped on a Thursday Netflix biopic that everyone forgets in three days.” And, for the most part, it fills the category but rapidly elevates itself with its luscious visual style and unique editing techniques that seem to be rarely found today. And that’s the sole reason why it succeeds: it tries to be different. It doesn’t necessarily demand much from its viewers, but it tries to give them something that differentiates itself from other “true story”-related biopics. Give it a chance; you might enjoy it.
Blue Miracle is now streaming on Netflix
Halloween Kills | A Fun Popcorn Flick With The Right Amount Of Slasher, Horror And Humour
Michael Myers terrifies the townsfolk of Haddenfield once again. halloween Kills uses elements from the 1978 original and fuses them with tense, gruesome and gore, it’s BLOODY BRUTAL!!!
In 2018 David Gordon Green’s Halloween, starring icon Jamie Lee Curtis, killed at the box office, earning more than $250 million worldwide, becoming the highest grossing chapter in the four-decade franchise and setting a new record for the biggest opening weekend in history for a horror film starring a woman.
However that Halloween night when Michael Myers returns isn’t over yet as the movie picks up right where we left off from the last one. Laurie Strode (Curtis), her daughter Karen (Judy Greer) and granddaughter Allyson (And Matichak) have left the masked monster caged and burning in Laurie’s basement, Laurie however is rushed to hospital with life-threatening injuries and believes that she’s finally killed her lifelong tormentor.
But when Michael manages to free himself from Laurie’s trap, his ritual bloodbath resumes. As Laurie fights her pain and prepares to defend herself against him, she inspires all of Haddenfield to rise up against their unstoppable monster.
The Strode women join a group of other survivors of Michael’s first rampage who decide to take matters into their own hands, forming a vigilante mob that sets out to hunt Michael down, once and for all.
Evil Dies Tonight.
And speaking of evil, everything about this depiction of Michael is phenomenal. From his onscreen chilling presence, to his mask and the way he commits these brutal murders. Michael’s rampage through Haddenfield is pure carnage, he absolutely demolishes everyone and everything is his path. He’s let loose and becomes an even bigger dangerous threat, which is to be expected from masked killers.
His kills are inventive and vicious and he’s gone one step ahead with the performance of killing someone as I felt that Michael has some theatricality aspects and truly admires his work by the way he displays their bodies. However I felt that some kills were forgettable due to the fact that we don’t get to care for some characters as by the time they’re in Michael’s line of sight, you know they’re a gonna.
For fans of horror and violence in movies, there are many spine-chilling moments such as Skull crushing, eye-gouging, gunshots and plenty of bodily horror.
And if you’re a fan of the original 1978 Halloween film, you’ll be pleased to see many of the actors who were once children, teenagers in the original reprise the same roles in Halloween Kills as adults. It feels so believable and genuine to see the likes of Kyle Richards (Lindsey Wallace ), Nancy Stephens (Marion Chambers) and Charles Cyphers (Sheriff Leigh Brackett) . The film truly pays homage to the original that started it all. many other characters return from the 2018 film and another classic character returning is Tommy Doyle, though recast and now played by Anthony Michael Hall.
With all these characters the film switches the narrative by focusing in on how the town itself responds and reacts to Michael as the Haddonfield townspeople are fed up and exhausted after 40 years of trauma which was brought on by Michael Myers. We follow groups of unlikely heroes throughout the town armed and ready to take out an unstoppable force of nature by any means necessary. Tommy rallies the whole community to band together. They don’t listen to the Police so this film shows what happens when a town is dissatisfied with a failed system and a useless authority. All hell breaks loose and a mob is formed, this becomes a story that isn’t about Laurie vs Michael, instead about Michael vs Haddonfield itself.
The movie’s central location takes place within a hospital, we see bodies being swarmed in as a result of Michael. Fear starts growing within the town which unfortunately morphs into panic and eventually utter complete chaos when misinformation and rumours star to spread. I felt that the residents of Haddenfield’s true enemy was their own idiotic decisions, society and rage has made them the monsters.
Cinematography is certainly elevated this time with unique camera angels showcasing the murders. John Carpenter’s score is beautiful and certainly adds suspense to certain scenes. I also love the film’s nods and nostalgia throughout flashbacks to 1978.
Overall Halloween Kills is a solid setup and middle chapter of this trilogy. It’s a fun popcorn flick with the right amount of slasher, horror and humour. It also sets into motion what will eventually become Halloween Ends.
After We Fell- Review
After We Fell is the third instalment of the “After” series, based on a series of fanfiction published on Wattpad in 2011 by Anna Todd. The film stars Hero Fiennes Tiffin as Hardin Scott and Josephine Langford as Tessa, the leading couple. This film follows the pair as they face troubles as Tessa makes a life-changing decision, her estranged father gets back in touch, and Hardin’s family secrets begin to unravel. Check out the trailer below.
The film is laden with issues. The script is awful, you can really tell it was fan fiction from Wattpad. The dialogue makes you cringe and it really doesn’t sell that these people and their relationships are real. The direction is just about competent, the acting is barely passable, and the story is predictable and vapid. I’m sure the cast has great acting chops, but they can’t flex them here in the slightest. Every ‘twist’ is set up so badly that when the jaw-dropping reveals happen, anyone who has been paying attention has seen it coming for the last hour. The story isn’t engaging. It sets things up that don’t really go anywhere. The characters outside of the central duo are completely interchangeable and they feel superfluous to the story. Anyone who isn’t Hardin or Tessa feels like they’re there just to fill the vacuum between awfully shot sex scenes until the credits mercifully roll.
I could go on for hours about how this fails on every level as a film, but honestly, I don’t think its intended audience cares about cinematography, screenwriting, or production design etc.- which is fine, most people don’t care about those things as long as the story is engaging and enjoyable- (if they did this wouldn’t have many fans). The film clearly knows its target audience is teenagers, the type of person who reads fan fiction on Wattpad about One Direction. The film has a few, shall we say, ‘intimate’ scenes, which are cleverly edited to ensure a 15 rating. During those cleverly edited moments, there is always a shot where the camera cuts away to show Harden getting a condom and opening it, so the audience knows that even ‘bad boys’ like Harden Scott use protection. And then during one scene where they don’t show Harden getting a condom, the next morning the two mention how they didn’t use protection the night before and have a brief discussion about contraception. Which is great, encouraging safe sex is always great, regardless of how you do it. However, people should not be having sex with someone as manipulative and toxic as Harden, even if he is wearing a condom. This is a nice segue into the real problem with After We Fell.
The biggest issue with this film and the whole After series, in general, is the relationship at the centre of it. Hardin is controlling, possessive, and aggressive. One evening in After We Fell, Tessa and Hardin are enjoying a romantic time in a hot tub. After being interrogated by her boyfriend, Tessa eventually confesses to briefly having feelings for someone else while they were broken up and Hardin storms off and ignores her for the rest of the night. He disrespects a waiter who is innocently talking to Tessa, he stalks her, harasses her. In some scenes, it feels like he is only a step away from hitting her. At best their relationship is toxic and at worst it’s abusive and manipulative. And despite all of this, their relationship is presented as romantic and merely “troubled”. Hardin is dominating and proprietorial, he refuses to listen to Tessa, he lashes out at her, invades her privacy, and then someone assures Tessa: he only acts this way because he loves her. He is the way he is; he does the things he does, out of love. The writers and the characters act as though Hardin being extremely toxic and pretty much abusive is sweet and caring. It’s difficult to write a review of the film when the overarching concept and theme is just too wrong to look past. This is not a well-made film, but I’ve seen many poorly made films that are an absolute blast. This being a bad film, though, doesn’t matter because its issues run so much deeper than just below-par technicalities.
The idea of young people watching this and imagining that this kind of relationship is not only normal but romantic and passionate is genuinely concerning. If this is the standard filmmakers set for romantic relationships for young people, it is extremely worrying. This film is rated as appropriate for 15-year-olds. However, the subject matter and the type of relationship this is romanticising warrants an 18 rating. No 15-year-old girl should be watching this and thinking that it is a good relationship, that Hardin is a troubled but sweet person, which is how the film presents it. This is really one of the most irresponsible film series being made right now; it’s borderline dangerous.
After We Fell hits Amazon Prime on 22 October.
Venom: Let There Be Carnage A Dark Comedy Infused With Fast-paced Action
‘Venom: Let There Be Carnage’ was absolutely Full of CARNAGE. It’s a dark comedy infused with fast-paced action and the relationship between Eddie Brock (Tom Hardy) and Venom was like watching an old married couple. And Woody Harrelson’s performance was CHAOTIC in a good way.
After so many potential release dates due to the film being delayed, Venom: Let There Be Carnage was officially released in Cinemas here in the UK on Friday the 15th of October. It is the sequel to Sony’s 2018 film Venom in where the Symbiote links himself with a host and used their bodies to service. Venom now lives amongst us but Eddie Brock struggles to adjust to his new life as the host of the alien symbiote. Venom grants him super-human abilities in order to be a lethal vigilante. Brock attempts to reignite his Journalism career by interviewing serial killer Cletus Kasady (Woody Harrelson), who becomes the host of the symbiotic Carnage and escapes prison after a failed execution.
The film wastes no time and dives straight into the storyline which dives deeper into the origin of Serial Killer Cletus Kasady. Harrelson’s performance as said earlier was Chaotic in the best way possible as his character encapsulates the rage and insanity. His performance was brilliantly matched by Tom Hardy who reprises his role as Eddie Brock, his chemistry with Venom is once again the true highlight of the film. The duo of Harrelson and Hardy work great as frenemies.
Speaking of venom this is truly where the film shines. Since this is a continuation from the first movie, Venom fells more settled inside his host and is more comfortable as Eddie’s conscience. However their rocky relationship has caused a lot of problems for Brock as both want to do different things for example, Eddie just wants to get on with his life and get his career back up and running, Venom does comply however he lusts for brains and chocolate. he feels stuck and wants to be free, but unfortunately cannot control his impulses.
They argue, fight and trash Eddie’s apartment. This is a very venomous love affair between them both but in an interesting scene, Venom attends a rave and opens up and i’m not kidding about his love for Eddie. Director Andy Serkis opens up about this particular scene saying that it was Tom’s idea to have Venom sort of Come out and go to a party that was a ideally an LGBTQIA festival. Venom speaks for freedom of others by asking to stop this cruel treatment of aliens.
At it’s heart this film is a love story about the extraordinary relationship between symbiote and host.
Reprising their roles from the first film are Michelle Williams (Anne Weying) , Reid Scott (Dan Lewis) and Peggy Lu as Mrs. Chen. I felt all have less screen time during the film but these characters are vital to help Eddie’s journey and Venom’s.
However I felt Naomi Harris was criminally underused. Her character Shriek acts more as a walking plot device than an actual character, though she does brilliantly on what the writers have given her to do. Another Character i felt that had potential but little to do was Stephen Graham, his character felt more like another plot device to tease the sequel.
With a new director to the franchise, Andy series brings a new quality to the story and action due to his knowledge of motion capture, the VFX on the symbiote’s are outstanding and realistic.
Venom: Let There Be Carnage is a step up from the first film. It’s a fun 90 minutes and OMG do not miss the credits!!!!!
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