I'll open by saying I am not a fan of Villeneuve. In fact, I think he's a hack whose only genuine talent is making stupid people falsely think they are actually quite smart. I am also a HUGE Dune fan. They have been my favourite series of books since I first discovered them as a teenager. So although I hoped for the best with this, I was expecting the worst. What I got was somewhere in the middle. It's an OK movie, not great, thankfully not terrible, but OK
It got some things right the 1984 Lynch version got wrong, but still somehow managed to get other stuff wrong (including stuff Lynch got right). It was also a surprise how much Villeneuve just lifted directly from the Lynch film, both visually and auditorily.
The wardrobe choices were a huge disappointment. If you didn't know the time setting, going just on the clothes in the new Dune you'd be forgiven for thinking it was set a mere forty or fifty years (if that) in the future rather than the twenty thousand years in the future when it's really set. The Lynch stillsuits look futuristic, unworldly, and something that really would keep you alive in the deep desert. The new desert wear looks like they are just going to go dirt biking for an hour or two in our present-day world.
The casting (completely ignoring the pointless gender swap) was good, However, with the exception of Paul, Chani, and Rabban the original casting was all better. But the original (apart from the odd decision to use the totally unsuited Kyle MacLachlan) was a masterclass in how to cast the perfect people for the role.
Anyway, enough of the comparisons, This film is about the first two-thirds of the first novel. I always thought the story would be better told via a big-budget TV series (or even mini-series) rather than a standalone movie. I still think what they tried to cover here was too much for a single movie, but it was a step in the right direction.
The film mainly sticks to the book story but does make some needless changes, the most obvious of which being the changes made to both the gender and story of Liet Kynes, which in turn impacts the story of Chani. Most other changes are small and mainly insignificant though.
The film being filmed in Norway, Jordan, and Abu Dhabi looks fantastic and very well suited to the large screen. And it's clear a great deal of time, effort, and money was put into the sets that looked equally good as the places they were meant to be.
The acting was of a suitably high standard, but unfortunately, many of the Dune names and terms were horribly mispronounced. That and the Hans Zimmer fart that is played constantly throughout the soundtrack is likely to pull people out of their emersion in the movie.
I was also somewhat surprised by what was left out, OK the source material is VERY dense and obviously some needed to be cut, but I don't really think it's made clear just how crucial melange is to the functioning of the empire and society as a whole. Also what (and why) mentats are is largely ignored, you may think that isn't overly important, but it is at the core of how many things are done in the Dune universe.
Over all, it's not a bad movie. Despite its flaws, I still think the 1984 Lynch version is better though.

FULL SPOILER-FREE REVIEW @ https://www.msbreviews.com/movie-reviews/dune-spoiler-free-review
"Dune sets the new standard for epic cinema with eyegamic visuals, powerful sound design and score, and a compelling story told surrounded by an absolutely massive scale.
Denis Villeneuve adds yet another audiovisual masterpiece to his filmography, despite some narrative-pacing issues due to the heavy exposition and repetitive yet crucial dream sequences. Timothée Chalamet and Rebecca Ferguson stand out in a stellar cast, where everyone delivers performances no short of impressive.
From the remarkable character work to the constantly captivating interactions, without forgetting the spectacle of the riveting action/war scenes, the extremely layered screenplay is beautifully translated to the big screen, where every viewer should definitely go to watch this movie.
Finally, don't forget that epic sci-fi/fantasy films are quite rare, so enjoy them as much as you can when they come out, instead of worrying about the comparisons with other sagas.
There's enough space to love them all."
Rating: A-

Great movie with excellent BG music and visual effects. Waiting for part two.

As a child, I remember catching David Lynch’s “Dune” on TV. I was too young to really understand the plot at the time, but I didn’t care, all I knew was that the worms were awesome. When I got a little older, I read the book for my first time. It was the first “adult” book I read on my own, and I was in love with it ever since. I read it many more times growing up, and when the miniseries came out, I watched and recorded it every night, then re-watched it time and time again. When “Children of Dune” aired, I again devoured it happily. In the case of the Lynch film, as I grew, I of course began to see more and more of the flaws, though I personally hold the “Spicediver Edit” in quite high esteem. That particular cut of the film manages to make the Lynch version into what is a genuinely good film, but still imperfect. The miniseries has, up until now, remained my preferred adaptation. Now we have a new adaptation: Denis Villeneuve’s “Dune”, and it certainly is quite different from the previous two versions in many ways, but is it good? Well, at least from my perspective, that answer is complicated. The short version is yes, it is a good film, but it’s not a great one.
The gist of the story is straightforward. Many, many millennia in the future, Paul, the son of the Duke Leto Atreides, finds himself and his family caught in plots of intrigue, and betrayal, after taking custody of a new and valuable planet. In order to survive, he finds that he will have to depend on the training of his mother, the Lady Jessica, the help of the planets local population, the fremen, and his growing awareness of a great, yet possibly terrible destiny that waits for him.
In reality though, the story is anything but. The novel is infamous for being “unadaptable” with its complex “plots within plots” storyline, along with its sheer size. There is simply too much going on in the story to make it easy to turn into a film, or even a series. The previous efforts have all brought different aspects of the novel to the forefront, and this new version is no different. In broad strokes, it is perhaps the most faithful to the novel in terms of themes, and it certainly emphasizes some aspects of the political commentary behind the novel, such as the missionaria protectiva, which was nowhere to be found in the Lynch film, and only really hinted at in the miniseries. They also spend a little more time focusing on the fremen and their sentiments toward off-worlders after living under the Harkonnen regime, but unfortunately, while it is nice to see these themes in the film, they are undercut by little development. In fact, the entire film suffers on that front. So much of the political context and scheming has been left out that the film as presented feels somehow empty.
Early in the film, it is established that the emperor considers the Duke Leto a threat due to his popularity, but never really explores too much beyond it. Even more strangely, the film establishes this, but then later makes it seem like they were never really certain about the fact that the emperor was involved in a key scene, unlike the book, where the Duke was fully aware that they were heading into a trap, and was attempting to outmaneuver his political opponents. The Baron Harkonnen is limited to a few admittedly atmospheric scenes where he more or less confirms the emperor is aiding him in their goal to destroy the Atreides line, but it is reduced to a few scant lines, the bare minimum necessary to understand the plot. This, unfortunately results in very shallow characterization, and the same problem runs throughout the film. Gurney Halleck, Thufir Hawat, and Doctor Yueh are all present, but each of them is only given a small handful of scenes, in which they only speak a few lines each, before they are forgotten to focus on Paul, or beautiful scenic shots. They never feel like fully realized characters in the film, more as brief supporting roles, whom are only present in order to fulfill their roles in the larger storyline. Thufir Hawat receives perhaps the worst treatment in this regard. Even the primary cast are not given a lot of development. We are given enough to know who they are, and a little of their personality, but nothing more. It seems strange, that the longest adaptation of the first half of the novel ever made should have less detail and character than either previous version. It does however, and it certainly hurts the film as a result. Long, moody shots are great, but only when they exist in addition with actual depth. The plot of the film has been streamlined to the point that it feels watered-down, and genuinely wastes the talents of its cast all stuck in roles that have been similarly effected.
There are also a few key scenes that actively go against things covered in the book. One scene features the Lady Jessica speaking of secretive matters regarding the bene gesserit sisterhood while sitting in the cockpit of an ornithopter right behind Thufir Hawat, whom would be easily able to hear everything she had just said. Another moment, involves the Reverend Mother Mohiam referring to Jessica as Leto’s “wife”, even though she would know full well that they aren’t married. Yet another moment involves that Shadout Mapes pulling out a crysknife to offer it to Jessica while out in the open, and Jessica is in the presence of guards. The Shadout later sheathes the knife unblooded, and those who have read the book will know why that choice does not work for the film, especially in the context of fremen later being shown cutting themselves before sheathing their knives. Of course, in any adaptation there will be liberties taken, and there are indeed more, but these three moments in particular certainly seem to stand out the most in regards to actively going against aspects of the original novel, and in doing so, hurt this film as an adaptation.
With that said, there were things I liked as well. As I have stated a number of times, the film is gorgeous. There are a couple of scenes that certainly seemed to be more “style over substances”, such as a shot of ships rising from the ocean for… no apparent reason, but man do they look beautiful. There is also a very real sense of scale in the film that I can freely admit neither previous version ever accomplished. As a result, there are a few scenes that do far better match their description in the book, and are glorious to watch.
I do really appreciate the way they portray the emperor, discussed, but never seen. A powerful force that can be felt looming in the background, his hand guiding everything happening. He is built up excellently, and I will be curious to see how well he is portrayed if we get a sequel. In the previous adaptations, he was prominently displayed and used to provide greater context for the politics of the story, but in the book, he is only ever seen in the end, and keeping book accurate in this case certainly works very well.
The film also features the most book accurate version of Paul’s growing prescience, hinting at possible outcomes rather than complete premonitions. The way it is executed is not necessarily without its flaws, or heavy-handedness in a couple of moments, but it works well. Similarly, we also get the story of the bull and Leto’s father for the first time, though the film attempts to make the bull symbolic in a manner I am not sure really works, or is earned. Also notable is the death of a significant character finally matching their death in the novel.
I have also stated that the cast does a great job, and I stand by that. In the entire film, there is not a bad performance in the film. My only complaint would be with the portrayal of the Lady Jessica, who comes across as too emotional, presumably in an attempt to show her ability to shift from being upset to being entirely refined and composed in moments, but that is a matter of writing rather than performance. When it comes to the casting, I personally felt that many of the actors matched their roles well, in particular enjoying the casting of Duke Leto and the Baron. I did not however care much for the gender-swapping of Liet, which served no real purpose, especially when one considers how small the characters role was in this version of the film, though Sharon Duncan-Brewster did a good job with what she had. I also did not care for the casting of Rebecca Ferguson as Jessica. While she is a very good actress, she seemed to me a bit too “girl next door”, rather than the character from the novel that the Duke Leto notes “reintroduced regality into the Atreides line”.
When it comes to the score, I will admit that I was not certain how I would feel in regards to Hans Zimmer’s work on the film. The samples I had heard up until this point had been interesting, but I was not sure how it would work in terms of the film itself. I can say that it works well, though there are moments when it feels almost as watered-down as the plot itself. It never really allowed me to feel excited at any point, but it did match the tone of the film very well, and I can easily see myself turning it on whenever I clean my house in order to set a “mood” (Ha! See what I did there?).
In conclusion, despite my criticisms, I did enjoy the film. I think it works well enough to be understood, though there may be some moments where the average viewer could find themselves feeling confused. It certainly is a visual spectacle, but one undercut by excessive trimming of detail and world-building. I hope it is successful enough to warrant a sequel in order to finish the story, but I also find that I will not be upset if it does not. As adaptations go, this is no “The Lord of the Rings”. In the end, I have to rate this version of “Dune” closer to the original Lynch film, and maintain the miniseries as my favorite adaptation of an amazing novel.

The worst movie I've ever seen. Don't waste your time.

**FABULOUS 🥇🥇🥇🥇 . . . . And , Oh , Yes . . . . Hans Zimmer's Score's Already Got "OSCAR" Written On It 😉 ; & EXPECT A WHOLE " HOST OF OTHER _MAJOR_ NOMINATIONS - AS WELL "**
This Is A **- _B I G_ -** Screen - MINI - Review. Picture Viewed Oct. 07, 2021 ; At Vox Cinemas , U . A . E
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Paul Atreides : " Fear is the mind-killer. Fear is the little death that brings total obliteration. I will face my fear, and I will permit it to pass over me. When the fear has gone, there will be nothing. Only I will remain ".
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**1.** If you're one of the -Millions- of people around the world who loved Denis Villeneuve's hauntingly riveting 2015 thriller 'Sicario', ( yours truly included ) ; then strap in for 'one hell of an Interstellar ride, with an -{ EQUALLY }- **" INTERSTELLAR 🌠 "** CAST . . . . that -literally- presents itself like a Who's-who of Hollywood's "Best, And Brightest". This time around, the unequivocally -{ Prolific }- Academy Award nominated French Canadian director has taken acclaimed American author Frank Herbert's 1965 sci-fi thriller, ( once touted as the world's -Best- selling science fiction novel ), & turned it into a veritable masterpiece of a movie. -Make Sure- to 'keep a special eye out' for Rebecca Ferguson's completely "Stunning" portrayal of 'Lady Jessica Atreides' . . . . I can promise that you most certainly -Will Not- regret it.
**2.** Almost needless to say, the Music, Acting , Cinematography 🔥 , Art-direction, C.g.i, Dramatic pacing & the sprawling, lavish Set-pieces are all, well . . . -{ " Past Compare " }- .
When it comes to 2021's cinematic 'big budget" smorgasbord : if you want to see the -Very- best Popcorn Flick "Sensation" of the year, it's most unequivocally going to be Bond 25 : 'No Time To Die'. But, on the -other- hand, if you're more in the mood for some -equally- magnificent **"Artfilm Meets Blockbuster" ( no seriously )** fare . . . that may -Well- hold you in a state of 'Absolute Rapture' from start to finish, then 'Dune' should most -Definitely- be your first choice. Just make sure to come to said movie with a { Genuinely } open and unbiased --- Heart , And Mind 🙃 .
**3. " Final Analysis " :** The only -{ Pronounced }- lack you will feel, if any at all, is that of -{ Humour }‐ . . . . especially if you're someone who enjoys their big screen delights served with, well, a "generous" side of unrestrained -Mirth- . I counted -Literally- only about "3.5" barely plausible funny moments in the -Entire- flick. But the obvious reason for that is : it simply -Wouldn't- have worked within this sort of a 'Deadly Serious' dark, dramatic, & super futuristic setting ( 10,191 "a.g", to be precise ). So, having taken -that- aspect of the production into consideration ; it really ended up -_NOT_ - bothering me very much, AT ALL. Thus, in sum . . . . I was utterly **-{ MESMERIZED }-** by " Dune : Part 1 " and hence ; I chose to give it a **" Wholehearted, Adoring, MEGA-APPRECIATIVE 13 Marks Out Of 10❗" .**

The concept is there, but the same humdrum preachy wokeism that is killing Netflix starts seeping in pretty quickly. The first few episodes are engaging, with likable characters and creative scenarios. Unlikely medical conditions abound, but that has been a staple of medical series since the dawn of time. Unfortunately what's been another shoehorn into recent dramas is the push of political and social agendas that no one in the audience signed up for. By the beginning of the second series, there is more preaching than doctoring, and the story loses its potential.

Started not bad at first & actually this show has pretty well developed characters that are memorable and you care about them, for example Dr. Glassman and of course the main character Shaun. The actor who plays him does amazing job. In short, it's a pretty decent show, but after season one, it gets deteriorated slowly by adding "woke" propaganda. And they also started making it more unrealistic, like healthy people marrying disabled people, dating crippled people or dating obese and ugly people. I mean, come on, it's not even realistic... In short, I would give this show more if not this political agenda that those forces put it in this show.

Good

Not too bad

ok after careful consideration I tried this show on the first episode and let me tell you I have no regrets in doing so this is by far the most impressive and brilliant show this fall the guy who plays dr murphy is just outstanding and is perfect for this part I have laughed at this show cried over it I have been threw every emotion and this is just the first season please a b c bring back Doctor murphy next season I went in expecting another boring hospital show and I got more far more then I could have ever asked for

So, finally - we reach the denouement. The ambitious and devious President "Coin" (Julianne Moore) thinks that the District 13 rebels have the upper hand, and so using "Katniss" (Jennifer Lawrence) as their poster girl, sets off to storm the very heart of the Capitol and depose the now very much weakened "Snow" (Donald Sutherland) who is, clearly, not in the best of health. What now ensues are a series of set-piece, occasionally morale-building but entirely predictable escapades that I have to say by now, I had really lost interest in. Who did what to whom in this overlong and really pretty procedural franchise was really beginning to matter less and less. What made the characterisations interesting and quirky at the beginning now just makes them rather dull. "Peeta" (Josh Hutcherson) features sparingly as he needs rescuing from the nasty government who are clearly drugging him up to his eyeballs and using as their Lord Haw Haw figure whilst hunky "Gale" (Liam Hemsworth) has little more to do than outrun some rather clunky special effects, some extras from an as yet unmade "Alien" film and look good wet - a task he manages well enough now and again. It's an action movie, so no point trying to scrutinise the merits of the dialogue. Otherwise, this was more of a relief than an enjoyment. At last the series could take a much deserved cat-nap.

Well, that was rather disappointing unfortunately. Not that I can say that I am very surprised though. The first installment in the series started off being "okayish" and the rest of them slid downwards towards mediocrity. This, the final installment, is a notch below mediocre as far as I am concerned. I really cannot understand all the hype about these movies. None of them really shines even if you try to look at them as young adult movies which they really are.
This one was downright boring. There were numerous scenes where Katniss or some other character was just dreaming away or sitting around brooding. It took quite a while for anything to start happening in the movie.
When something started happening it was the same mess of political, unbelievably stupid, propaganda, messy and unintelligent fight scenes, Katniss walking around looking, I do not really known, disconcerted, sad, disturbed, whatever.
How the chief villains (yes plural) was one could figure out without too much effort. The moment the flyer came into the picture and started to fly over the refuges and the children not only I but all of my kids as well guessed who had sent it.
There is really only two things that I liked about this movie. One is that Donald Sutherland was really good. The other is the ending which, although being 100% predictable, was quite satisfying. Well, that scene (everyone having seen the movie knows which scene I am referring to) is where I consider the movie to have ended. After that it was only boring filler scenes remaining.

> A necessary finishing touch with an unnecessary lag.
If the single book 'The Hobbit' was extended to three movies, then that's alright, because that was a large concept with hundreds of unique characters which can take the stretch in narration. But for this series, lucky to be the first film to get away with a big hit, mainly because of teen audience.
Honestly, I liked the 2nd film very much, but the third movie was a letdown, especially this one was utterly useless. Because the 80% of the story ended in the previous part and in this, it was a necessary finishing touch with an unnecessary lag.
Might have been a better film if the 'Mockingjay' was a single movie. Nowadays there are many strange ways to make money, the art of storytelling in the movies is slowing vanishing while adapting a book for the silver screen by splitting them into two and/or three. This culture has to stop, the book fans are enjoying the original masterpiece, while film fanatic like me is suffering a setback. In this 2 hour long movie there are lots of scenes that simply wastes time to bring sufficient runtime.
Due to the circumstances that I mentioned, the flow was disturbed, mainly because of the release gap between the last two films. Emotions are not felt, actions were weakened, you could only recognise it rushing towards the conclusion. And that section should have been the ultimatum, what comes later is what we call 'happily ever after or the other way' should have been very brief, but in here it was not. Like a new beginning of a new story, it went on too far.
From the screenwriter's perspective that has to be done. I had seen the split movies like 'Twilight', 'Harry Potter' and others, but this one was the worst among them. Even if you try all the four movies in a single sitting, the first two will be the best you can get and the followed two would surely disappoint you because of the slowness.
5/10

The movie is not bad directed and the cast does a decent job. Actually, the script is a good adaptation of the book.
The problem is that the story of the book is already quite bad and has gone down the sink by now so the whole movie just doesn't work.

The Hunger Games creator and mastermind Suzanne Collins has brought to life the explosive and resilient heroine Katniss Everdeen (not to mention the resourceful actress stepping into her action-oriented shoes and consciousness in the form of Oscar-winning actress Jennifer Lawrence). Now with the conclusive The Hunger Games: Mockingjay--Part 2 ardent and casual fans of this imaginative and charged film franchise will get a chance to soak in the cinematic experience that has carried them through this durable trilogy. However, the question remains: does Mockingjay--Part 2 fulfill the adventurous swagger of its previous predecessors as it demonstrates its furious farewell in moodiness and mischievousness? Well, the answer is a resounding YES but some will still address the concept of the film's emotional and psychological leanings as merely serviceable to a string of feisty films that invited such passion, pronouncement and promise in its commentary on class struggle and societal survival means as a whole.
The Hunger Games cinematic installments (and of course Collins's riveting literary outlets) have always been a solid and secure movie-going moment because it offered what so few action-packed features entailed: a perceptive and honest if not hedonistic look at the politics in the human psyche set aside from the rough-and-tumble sequences of action and suspense. The Games that were played in the minds of the audience were intriguing, thoughtful, compelling and smart about its wits and wisdom. All The Hunger Games editions were message-driven and presented a special kind of indescribable opulence and openness that was refreshing. Sure, there are the highs and lows that comes with the territory when mapping out a showcase of sequels bound to stumble on its lapses in story and characterization. Still, for the most part The Hunger Games: Mockingjay--Part 2 leaves the viewers wanting more but being compliant with what amounts to be the swan song for courageous cutie Katniss Everdeen's big screen legacy.
It is quite clear that The Hunger Games: Mockingjay--Part 2 and its previous outings has carved a decisive niche into the Young Adult film fiction genre as one of the most successful and consistently received chapters that sparkled in its over-glow of gallant gumption and soul-searching turmoil. Indeed, Mockingjay--Part 2 does add its measurement of tension, radiance, redemption and resolution. Importantly, Mockingjay--Part 2 maintains its reflective and steady balance of hope and rebellious vibes and Lawrence has not lost a single ounce of momentum in the few years since she donned the respectable defiance of the roguish Katniss out to settle a continuous score with the controlling powers-that-be. Instinctively, labeling The Hunger Games motivating movie series as a pop cultural phenom would not risk the intention of sounding overdramatic because for the most part this film franchise has been a saving grace to the aforementioned Young Adult film fiction craze that has offered cemented substance in comparison to the soapy sentiments of the immense Twilight umbrella that spread like wildfire in the unguarded woods years before.
As one can imagine Mockingjay--Part 2 picks up where the first Mockingjay left off in its initial premise. Director Francis Lawrence (back at the helm) starts his narrative rather slow and plodding but builds up the sassy momentum as his on-screen victorious vixen Katniss Everdeen pounces on her latest exploits to expose and agitate the corruptible Capitol and its lead manipulator in the likes of the diabolical President Snow (Donald Sutherland). The good news is that the determined Katniss is finally reunited with her former Games companion and romantic partner Peeta Mellark (Josh Hutcherson). The bad news is that poor Peeta has been manipulated and convinced to view Katniss as an enemy courtesy of Snow's menacing minions. Automatically, this is the difficult wedge that puts a damper on Katniss's ability to go after Snow and his vile followers with Peeta serving as their brainwashed Boy Wonder with the forced hatred in tact.
So now the course is set for Katniss Everdeen to follow as she decides to pursue her intentions of gradually taking down the governmental negligence of Snow and his abominable administration. Naturally, Katniss needs the assistance of the rebels under the tutelage of District 13's President Alma Coin (Oscar-winner Julianne Moore) as well as the input from wily gamemaster Plutarch Heavensbee (late Oscar-winner Phillip Seymour Hoffman) to take down the dangerous and devious Snow and his governmental criminal cronies. Politically, the opportunistic Coin wants Katniss in her camp for the mere promotion of propaganda...something that just does not sit well with the feminine avenger.
The stakes are understandably high but Katniss is in company with the likes of her childhood sweetie pie Gale (Liam Hemsworth) and old-time buddy Finnick Odair (Sam Claflin) as they join forces to combat the evil clutched of the Capitol. The bottom line: the venomous President Snow needs to be cut down in his treacherous tracks...plain and simple.
Quite frankly, the beleaguered Katniss is caught up in the complicated web of a couple of political powerhouses in the insufferable Snow (that wants to destroy her) and Coin (that wants to use her reputation for marketing purposes) willing to go at it while using Katniss's exposed neck as the sacrificial pawn to determine their sense of twisted greatness. For the most part, The Hunger Games: Mockingjay--Part 2 does present a skillful display of confusion and identity and Lawrence's death-dodging diva Katniss Everdeen is the epitome of a Girl on Fire with flames of indecision and doubt burning all around her. Who can she trust? Who has the fortitude to stick with the plan and ensure that the tedious target of Snow is silenced for sure? Can Katniss overcome the obstacles of her great love Peeta's perverse distaste for her while battling one narcissistic leader as another one she is joined at the hip exploits her presence? There seems to be a constant continuity for conflict in warfare and wounded souls that elevates Mockingjay--Part 2 as a boisterous board game of physical and psychological movement. As usual, Lawrence's Katniss carries the animated strife on her dainty yet athletic shoulders with bouncy boldness.
After four exhilarating films, The Hunger Games empire does not crumble but comes to a full scale halt as it understands the allegory claims for the distrusting contemporary times we all live in regarding the cynicism, abuse of privilege and the underestimation of the weary masses being led astray by the controlling elite of unassuming movers and shakers. The audacity of The Hunger Games odyssey was to get down and dirty about the give-and-take tendencies of a global society willing to challenge the authoritative scrutiny or kneel at its merciless ankles. Perhaps Mockingjay--Part 2 should not be perceived so deeply in its final revelation. Nevertheless, the effort in trying to do so should be acknowledged for an actioner that dared to approach such thought-provoking fodder within its bombastic boundaries.
The Hunger Games: Mockingjay--Part 2 (2015)
Lionsgate Films
2 hrs. 17 mins.
Starring: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Donald Sutherland, Philip Seymour Hoffman, Julianne Moore, Willow Shields, Sam Claflin, Elisabeth Banks, Mahershala Ali, Jena Malone, Jeffrey Wright, Paula Malcomson, Stanley Tucci, Michelle Forbes
Directed by: Francis Lawrence
MPAA Rating: PG-13
Genre: Science Fiction and Fantasy/Action and Adventure
Critic's rating: *** stars (out of 4 stars)
(c) Frank Ochieng 2015

If it's got wheels, then Ryan Gosling's nameless character can use it. When he is not doing triple rolls as a movie stunt-man, he is being the freelance getaway driver for criminals who need a reliable man to get them out of trouble. His friend "Shannon" (Bryan Cranston) fancies himself as a bit of a motor sport aficionado and suggests to his wealthy (and pretty crooked) pal "Bernie" (Albert Brooks) that he chip in $300k so they can start a team. Just as that's all getting on track, the driver starts to get the hots for a neighbour "Irene" (Carey Mulligan) and so engineers a meeting with her and her young son. She's not without her own baggage - but he (Oscar Isaac) is incarcerated for the moment and so their relationship burgeons. When he gets out of jail her boyfriend needs help with a petty robbery at a pawn shop. That goes pear-shaped and next he knows he has a corpse, a bag of mob money and just about everyone on his tail. He needs to keep her safe and stay on his toes for quite an exciting and action packed last half hour that sees this meticulous man fighting for survival. It's all about Gosling this film, and he owns the screen. His charismatic effort as the wheels works well throughout and as the thing stealthily gathers pace, he delivers confidently. Mulligan doesn't really feature so often to make that much of a difference, but essentially it's a one-man show and that weaves the threads of greed, corruption and romance entertainingly.

If you take out the staring and slow motion scenes in the movie, you're left with an hour or less. I liked it in general, but it wasn't as good as it was hyped. It could have been shot at a much faster pace with a different director. Ryan Gosling may be like this, but he looks extremely tense throughout the whole movie. If we write down the dialogues he says in an hour and a half on a piece of paper, it wouldn't even be a page, there are no facial expressions either. That's how anyone can become an actor and act. There is nothing special about the movie except the music. I watched the movie years later just because I loved the intro music so much.

Drive is a cinematic triumph that delivers an unforgettable ride from beginning to end. While the storyline may seem simple at first, the film's attention to detail and intricacy of world-building truly sets it apart from the rest. Every character introduced has a connection to the crime world that is slowly pieced together, creating a puzzle that's both engaging and intriguing. This aspect of the film is truly captivating and highlights the excellent writing.
What's more, the family elements of the movie really shine. Ryan Gosling delivers an outstanding performance as a protagonist forced to do bad things to survive. However, the connection he forms with the family across the hall is heartwarming, slowly evolving from a romantic interest to a bond of familiarity and care. In the meantime, Oscar Isaac also gives a remarkable performance as a character initially portrayed as off-putting and egotistical, but whose love for his family slowly emerges as the movie progresses. His character's desire to get out of the criminal life and make good on his past mistakes is admirable and heartbreaking.
As the story unfolds, the movie takes a dramatic turn, introducing graphic violence and jaw-dropping moments that are genuinely wild. It accelerates to full speed, never letting up, and keeps you on the edge of your seat until the very end. The movie's unique 80s aesthetic is also a standout, even though it takes place in modern times. It is visually impressive, especially when combined with the superb cinematography.
Overall, Drive is a movie that gets so much right and turns a seemingly generic formula into a film that is truly special. Its superb storytelling, memorable characters, intense action, and unique style make it a must-watch for any cinephile.
Score: 92% 🏅
Verdict: Excellent

**Ironically, a movie about getaway drivers and car chases was much too slow for me.**
Lots and lots of silent staring. Drive cuts most of its dialogue, creating a mysterious and captivating main character, but its slow pacing that drags despite some fantastic car chases and gore-filled moments of action drained most of the excitement. The lack of dialogue forces actors to give incredible performances with their eyes, body language, and demeanor which the cast nails with impressive skill. The atmosphere and aesthetic of the film are beautiful and unique, enhancing the cinematography and visuals. While the film has plenty of great ideas, solid performances, and gorgeous scenes, the pacing and style kept me checking my watch and getting up to grab snacks while the movie continued in the background. I’m going to assume that this is just a case of “not my kind of movie,” but in the end, not one I can recommend.

One of the best films ever made in my opinion. Nothing about this felt boring like people said. Just don't go in expecting an action movie. 10/10 Masterpiece.

Fate? Unknown...
Drive is directed by Nicolas Winding Refn and adapted to screenplay by Hossein Amini from the novel of the same name written by James Sallis. It stars Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks, Oscar Isaac, Christina Hendricks and Ron Perlman. Music is by Cliff Martinez and cinematography by Newton Thomas Sigel.
Driver (Gosling) has a day job, he's a Hollywood stunt man, but by night he makes the serious cash as a getaway driver for the criminal fraternity. Into his life comes married next door neighbour Irene (Mulligan) and her little boy Benicio (Kaden Leos), pitching him right into the middle of two wars; one is for his emotional worth, the other with the criminal underworld.
Real human being, and a real hero.
They cheered at Cannes, it has garnered instant cult classic status as well as gushing critical praise, Drive is arguably the biggest surprise of 2011. Some would debate that it arrived in a year that was dominated by blockbuster brain drains and pretentious parables, meaning it wouldn't take much for something like Drive to find a favourable audience. Yet Drive is a special movie, the surprise being that it delivers a different film to what the plot synopsis suggests. There would have been many disappointed that it didn't turn out to be something akin to The Fast & The Furious 19, but as its reputation grows, one likes to think that many also had their senses tingled unexpectedly by Refn's western done out in 1980s neo noir attire.
Yes, at first glance it looks like a simple story given over to style over substance leanings, where the fact that our laconic protagonist is not prone to dialogue expansion, could lend argumentative weight to those potential dissenters only skimming the surface of the picture. But the material is in excellent hands, with Refn, Sigel, Gosling and co, calmly unravelling Amini's stripped down screenplay to reveal a gritty urban fable that's laced with ethereal overtones. A picture where a look means more than any words can express, a subtle holding of hands reveals many layers peeling, and then the serene state of play often gets punctured by bouts of shocking violence, yet always it remains a picture big on intelligence, beating a mighty heart in the process.
Propelling the picture forward is the complexity of Gosling's driver character. He has no back story for us to work from, and he gives nothing away outside of the tender bond formed with Irene and child. He is actually one of many purposeful grey areas (or should that be gris areas?) within the plot structure. We learn just enough to be on his side, a noble but flawed hero battling against fate as he fights for the innocent, he be Shane for a modern pot boiling Los Angeles. Helps, too, that he's so cool behind the wheel, where he mines Steve McQueen's effortless charisma. Refn delivers magic moments of car play, from the near ten minute opening getaway extended sequence, to a high speed kill or be killed pursuit, when the action flows it really pumps the adrenalin.
Gosling is amazing, instantly iconic, soft voice matching his soft blue eyes, toothpick perched between teeth, it's a testament to his acting ability that the requisite homages to iconic characters of movies past never veers into parody territory. It's with the calm moments that he triumphs most, be it watching TV with the boy Benicio or just gazing intensely into Irene's eyes, Gosling has a magnetic quality of some significance. Mulligan, too, is wonderful, deftly underplaying Irene to work off of Gosling to create heart aching tenderness, their chemistry superb. Isaac does fine work with the ex-con/husband character that is thankfully not stereotypical, Brooks is Colm Meaney like, thriving on simmering badness, while Cranston puts real heart into the role of Driver's garage boss, the closest thing the Driver has to a pal. The only one dimensional character lands in Perlman's court, but Perlman is such an ebullient and watchable life force the film survives the character's oafness.
From the opening pink neon credits, accompanied by the synth plink of a retro 80s soundtrack (a soundtrack so memorable it lands in the ears and stays there for days), it's evident that Refn is a man who takes his style serious. Drive is full of classy (yes arty) passages, fluid camera movements, single takes, non central framing of characters, slow motion unfurls and eye dazzling chopper shots of a neon lighted L.A., the director has an eye for the quality required to cloak his story. He of course is aided considerably by his editor Matthew Newman, and Sigel's photography. The former is dealing in seamless precision, the latter a master of shades (a lift sequence is to, ahem, die for) and colour toning delights. Marking this out as a Blu-ray essential.
You can name about ten films that Drive has been either likened too or put forward as an influence, and Refn's work here has been touted as an offspring created by Michael Mann, Walter Hill, William Friedkin and Sergio Leone (all viable and all actually high praise indeed). But rest assured, Drive is still fresh and exciting, the perfect movie package. Refn's masterpiece and one of the best films of 2011. 10/10

The patient-man's _Transporter_.
I've never been much of a Ryan Gosling fan (probably why it took me five years to get around to watching _Drive_). I am a fan of virtually every other cast member in the movie, but I didn't know any of them were in it before I started watching it. _Drive_ wasn't enough to bring me around on to the Ryan Gosling train, but I'll tell you who it definitely did put me on to: Director Nicolas Winding Refn.
The direction is truly king here in _Drive_. There are a couple of stylistic choices that didn't work for me, like the repetitive vocal-heavy montages, and I was not at all enamoured by Gosling's character (he seemed like kind of a dick). But overall I was impressed, and will definitely be on the look out for Refn's work in future.
Not only did _Drive_ feature some grandly intense bursts of ultra-violence, it also gave me my first jump scare to make me actually jump in... God... Years. At least.
_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._

**X-Men: First Class reset the board and brought new life to a franchise that had lost its way.**
After X-Men: The Last Stand and Wolverine Origins, it was clear the X-Men franchise had gone off the rails, but First Class saved the day! First Class tells the origin story of Xavier, Magneto, and the X-Men with a 1960s setting and inexperienced young heroes. These raw and unrefined portrayals of Magneto and Xavier shined the characters in a fascinating new light. The story was engaging and fresh. It felt so new and unique - unlike anything ever seen before with this franchise. All these little-known characters raised the stakes since so many weren’t a part of the original movies leaving their fates unknown and futures unsecured. The 60s style added a cool new aesthetic to the franchise and seeing the beginning of the friendship between Xavier and Magneto with moments of laughter and fun gave the franchise the reboot it needed.

If it's not sacrilegious for a Brit, I found this outing for the "X-Men" to be far better without the presence of the two elderly thespians who usually underpin these adventures. James McCoy takes on the mantle of the younger "Xavier" with Michael Fassbender introducing us to the role of "Erik". The former has the ability to read minds, his friend to manipulate metal. By means of flashbacks, we learn the back story for both of these characters, illustrating how they met and started to work together to ensure that their kind were safe and sound in an increasingly hostile world of human paranoia and suspicion. They are making progress until the re-emergence of "Shaw" (Kevin Bacon). Now he and "Erik" have a past - and the latter blames the other for leading atrocities carried out by the Nazis on his Polish family during WWII. His determination to seek revenge causes a rift between the two friends, and soon they - and their respective followers - are at loggerheads whilst a dangerous nuclear war looms for an humanity caught up in a devious cross-fire. Bacon isn't at his best here, he isn't remotely menacing - but the others, including Jennifer Lawrence's "Raven" and Nicholas Hoult's geeky "Hank" work well to give us quite an action-packed flavour of the birth of "Magneto" and of the foundations of his later hostilities with the "X-Men". The visual effects deliver well and the underlying narrative actually offers us a bit to think about - forgiveness, vengeance, fear and intolerance are all touched upon with a superior script that doesn't entirely rely on the effects and pyrotechnics to make it's point. This film works better on a big screen, these stories never really thrive on the television, and is easily - for my money - the best of the franchise I've yet seen.

My favourite so far.
'X-Men: First Class' is great fun. I felt entertained throughout with nothing bothering me whatsoever, with the score and the cast particularly standing out. I will say it starts stronger than it ends, but that's not to say it isn't all enjoyable because it certainly is.
James McAvoy is very good as Charles Xavier, while Michael Fassbender is excellent as Erik Lehnsherr. Rose Byrne, Jennifer Lawrence and Kevin Bacon were three others who I liked watching too. Back to the score, it's tremendous - some parts reminded me of the outstanding theme of television's 'The Crown'.
I was feeling the decline across the preceding four releases, but thankfully this regains the series' footing and then some. Intrigued to see where it goes from here. Onwards to 'The Wolverine'*! *watching in release order
/copied directly from my Letterboxd review\

On IMDb, X-Men: First Class has garnered the highest rating of all films in the X-Men franchise so far. Given the fact that this film features only a few of the familiar characters of the previous films, portrayed by different, younger actors, and the complete absence of Wolverine, the (current) rating of 8.1 somewhat surprised me. That was before I had seen it...
Being a pretty big X-Men fan myself, I was excited to see this, regardless of plot or characters. However, I was also a little wary of what to expect, for the reasons stated above. I suspect that anybody reading this might feel the same way. But rest assured, any doubts were quickly dispelled no later than the opening scene. First Class starts off very well, with the exact same opening scene as the first X-Men, featuring a young Erik Lehnsherr being separated from his parents in a Nazi concentration camp. What follows after this familiar story is something completely new and particularly dark and brutal. I won't give away any important plot lines, but suffice it to say there won't be a single person left wondering why Magneto is so resentful of "normal" people. This event also sets the tone for the rest of the film, and, to a great extent, explains why First Class is such a success: this film is all about character. Whereas all the other films were mostly about cool superheroes and special effects, First Class is all about character development and the history of those who would later become Professor X and Magneto. This concept might have failed big time if it wasn't for the superb screenplay. I take my hat off to whoever managed to incorporate every little, but crucial, character and storyline and made it flow together so beautifully. Literally everything comes together in this film, everything you might have wondered (why is Xavier paralyzed?) is given a credible and fitting explanation.
Another real strength of FC is its cast. Everybody in this film is right where they should be. Kevin Bacon is the perfect villain (but we already knew that…), James McAvoy not only looks, but sounds and moves like the young Charles Xavier would. Jennifer Lawrence is a convincing, young (and believe it or not, insecure) Mystique. All other characters are perfectly cast as well, humans and mutants alike. However, I feel that most credit is due to Michael Fassbender, an actor I am now ashamed to say I had never even heard of before. The way he portrays the 30-something Erik Lehnsherr/Magneto is stunning. His entire physique, down to every little twitch in his face, truly captivates all the pain and agony Erik has had to endure throughout his life. It makes you sympathize with Magneto and understand why he is the way he is. Whereas the "old" Magneto was little more than a bitter old man who despised Homo sapiens for undisclosed reasons (with no discredit to Ian McKellen intended here), Michael Fassbender does something I thought was almost impossible in a superhero flick: he gives Magneto a soul.
In case I might have given the impression that X-Men: First Class is no more than some wishy-washy character drama, don't worry. There are plenty of awesome action sequences and special effects to keep the more adrenaline-pumped movie-goer satisfied. And before I forget: there are two small, but awesome cameo appearances which I know you will enjoy…
Finally, a small note on parental guidance: I was absolutely baffled to see that half of the audience consisted of parents with small children. Like I said before, this is not just another cool superhero movie. X-Men: First Class features elements which are quite dark and graphic, and especially the scenes portraying Nazi brutality are not intended for a young audience. Personally, I would say 14 is the appropriate minimum age.
With all that said, I would recommend this film to anyone, even to those of you who aren't X-Men fans. It doesn't happen very often that I can't find a single flaw in a film, but I guess this is just one of those rare cases. Great directing, great acting, great everything. Period.
_(July 2011)_

I didn't love this movie. There were aspects about it from the perspective of an origin story that were interesting but something about the pacing and acting just felt… off. I can't quite put my finger on it but the first word that comes to mind is "campy". Kind of like I was watching one of the last three Star Wars movies. The dialog and overall tone just weren't serious enough.
The trailer for [X-Men: Days of Future Past](https://www.themoviedb.org/movie/127585-x-men-days-of-future-past) looks better and Bryan Singer is back at the helm. The best X-Men movies are without a doubt 1 & 2 so here's hoping he can steer this back a bit.

A very good movie!
I'm not a massive comic book reader/fan and when I watched the first couple of the X-men movies I always wondered how it all begin and this movie do it justice! The actors where great (there no Patrick Stewart or Ian McKellen), Kevin Bacon played the baddie very well and was well suited for it and it was graphically impressive.
Loved to see the development of the characters over the duration of the film.
In all, I think it was a excellent movie.

"Back to the Future Part II" is a refreshing and inexhaustible source of entertainment and inventive fun for everyone. It features an abundance of memorable action sequences which have been brought to the screen with innovation and skill and great visual imagination. It also draws upon events featured in the original film to create an entirely different slant on the same sequences, but this time around the motivating factors in doing this retread are entirely different. Of course such sequences as these could mean a distinct lack of creative inspiration, but fortunately that is never the case here because they are visually inspired and they only add to the overall fabulous enjoyment to be had.