gavsalkeld
Joined Nov 2000
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Reviews5
gavsalkeld's rating
As a longtime horror aficionado, and huge fan of the first film, I was looking forward to seeing this. I just did. I wish I hadn't. This is not a patch on the original. Its not even a true sequel, as the credits state it is "inspired by the motion picture, Paranormal Activity"!
It's slow, terribly-clichéd and -- as a long-time horror fan of all kinds of horror films, especially the psychological ones -- not very scary. The film takes forever to get into, has very few scares, is highly unrealistic (thus ruining the whole "found footage" feel) and nosedives into tired Hollywood scare tactics towards the end, with screeching sound design and people diving at the camera.
Very, very disappointing.
It's slow, terribly-clichéd and -- as a long-time horror fan of all kinds of horror films, especially the psychological ones -- not very scary. The film takes forever to get into, has very few scares, is highly unrealistic (thus ruining the whole "found footage" feel) and nosedives into tired Hollywood scare tactics towards the end, with screeching sound design and people diving at the camera.
Very, very disappointing.
As someone with a heavy interest in the Mothman phenomenon, and a champion of the film "The Mothman Prophecies", I was intrigued to come across this weighty (two-hour plus) documentary on the relatively little-known phenomenon, the Mothman.
The opening back story that makes up the beginning of the film really helps give the Mothman story context, and although you have to sit with it for a little longer than you may want to, it nevertheless is an interesting introduction to the history of Point Pleasant.
Overall, the visuals are really nice -- with some clever effects and reconstructions to boot -- and to see eye-witness accounts firsthand was what really made the documentary good. To hear about events from officials, scientists and authority figures is fair enough, but to get to hear the actual witnesses speak was great.
The narrator's voice is well suited to the material and none of the reconstructions or effects are cheap, intrusive or cheesy. The subject matter is treated completely with the respect and seriousness it deserves.
I highly recommend prospective viewers of "Eyes of the Mothman" track down John Keel's compelling non-fiction book, The Mothman Prophecies, and read it before seeing this. The movie of the same name is also worth seeing, but I think you should see it before you read the book. The book will expand upon the movie, if you enjoyed it, and finishing off with this throughly interesting and insightful film won't leave you disappointed.
"Eyes of the Mothman" is a little long, but its worth sitting through. Well-made, beautifully put together, and really entertaining.
The opening back story that makes up the beginning of the film really helps give the Mothman story context, and although you have to sit with it for a little longer than you may want to, it nevertheless is an interesting introduction to the history of Point Pleasant.
Overall, the visuals are really nice -- with some clever effects and reconstructions to boot -- and to see eye-witness accounts firsthand was what really made the documentary good. To hear about events from officials, scientists and authority figures is fair enough, but to get to hear the actual witnesses speak was great.
The narrator's voice is well suited to the material and none of the reconstructions or effects are cheap, intrusive or cheesy. The subject matter is treated completely with the respect and seriousness it deserves.
I highly recommend prospective viewers of "Eyes of the Mothman" track down John Keel's compelling non-fiction book, The Mothman Prophecies, and read it before seeing this. The movie of the same name is also worth seeing, but I think you should see it before you read the book. The book will expand upon the movie, if you enjoyed it, and finishing off with this throughly interesting and insightful film won't leave you disappointed.
"Eyes of the Mothman" is a little long, but its worth sitting through. Well-made, beautifully put together, and really entertaining.
Licence To Kill is one of the most underrated Bond movies since On Her Majesty's Secret Service. Slipping easily back into 007's shoes with style after his previous role as Bond, Timothy Dalton embodies the character. With a break away from the comic-book villains and fantastical locations, the filmmakers decide to focus instead on a very adult and contemporary story about drug smuggling and revenge. Michael G. Wilson and Richard Maibaum's story is engaging and exciting, with a steadfast confidence in their leading man. This is a Bond movie that took risks -- it was the first 15-rated Bond film in the UK -- and surely deserves kudos for doing so. Make no mistake; this is not a family Bond picture. Its themes require a more mature perspective than its predecessors, and the violence is certainly stronger than anything that had come before. Unfortunately, these factors seem to be what critics of Licence To Kill call 'faults'. But why is change so bad, I ask? Casino Royale is getting major appreciation from critics for its grittiness and its darker edge. So why not Licence To Kill? After all, this is the movie that started the current trend, with Dalton's mature portrayal of Bond paving the way for Pierce Brosnan and, without doubt, Daniel Craig. It always amazes me that people do not give Dalton more respect for what he did with the character. This guy started the ball rolling. And boy did he give it a hard push.
The characters in Licence To Kill are one of it's major plus points. James Bond is the most human we have seen him in 20 years, as Dalton brings a real sense emotional depth to the character; a tortured man full of hurt and pain and vengeance, his determined and stony face almost cracking with the burning hatred that is barely contained inside of him. We also get a strong female lead with Carey Lowell, whose portrayal of Pam Bouvier is at once intelligent, sexy, and funny. On the flip side of the coin, we have a genuinely terrifying villain in the shape of Robert Davi, playing his role deadly straight with not a hint of camp. It's a rare scenario where you feel Bond has met someone of equal competence. The Sanchez character is a frightening presence, and an early role from Benicio Del Toro is just as effective; his chilling grin a fear-inducing sight.
Technically speaking, John Glen's direction is taught and assured, with the pace never really letting up for the 130+ minutes running time, save at the very end of the movie where the spectacular truck chase sequence perhaps drags just a little. The brilliant Michael Kamen also supplies us with an elegant, sensual and brooding score that is a vital player unto itself, complimenting the visuals excellently.
In spite of these pluses, there are some minor quibbles. As I said before, the truck finale is perhaps a bit long, even though the stunt work is amazing, but it does slow the pace a bit. Talisa Soto is indeed beautiful as Sanchez' girlfriend but, bless her, she isn't exactly the most talented actress on the planet. She plays her part well enough, but the role isn't exactly Oscar-worthy, and it's not helped by the fact that the script tends to relegate her to the sidelines. Everett McGill's cigar-chomping Killifer is rather too pantomime for me - he just doesn't stand up to the characters of Sanchez or Anthony Zerbe's Krest but he doesn't stick around long so doesn't get in the way too much.
With a striking leading man in Bond's shoes, Licence To Kill deserves a lot more credit than it gets. This is the film that broke the mould, opening the doors to a more adult, violent Bond world that continued briefly with some of the Brosnan films and certainly with Daniel Craig's portrayal of the character. In Timothy Dalton we have a brilliant actor in the starring role who brought us a more human and believable Bond, yet it is Daniel Craig who is currently getting the credit for these exact traits. Don't get me wrong, his characterisation is superb. But Dalton is the one who started it off, and it is a shame that he only made the two films.
John Glen says that from all of the Bond movies that he directed, Licence To Kill is the one he is most proud of. And rightly so. Not only do we get a more fleshed-out character in Bond than previous outings, we get a more believable and mature storyline, with great characters and competent direction. Definitely one of the most underrated Bond movies, this engaging film is a great piece of entertainment, and one that I hope will gather praise with time. See it.
4 stars.
The characters in Licence To Kill are one of it's major plus points. James Bond is the most human we have seen him in 20 years, as Dalton brings a real sense emotional depth to the character; a tortured man full of hurt and pain and vengeance, his determined and stony face almost cracking with the burning hatred that is barely contained inside of him. We also get a strong female lead with Carey Lowell, whose portrayal of Pam Bouvier is at once intelligent, sexy, and funny. On the flip side of the coin, we have a genuinely terrifying villain in the shape of Robert Davi, playing his role deadly straight with not a hint of camp. It's a rare scenario where you feel Bond has met someone of equal competence. The Sanchez character is a frightening presence, and an early role from Benicio Del Toro is just as effective; his chilling grin a fear-inducing sight.
Technically speaking, John Glen's direction is taught and assured, with the pace never really letting up for the 130+ minutes running time, save at the very end of the movie where the spectacular truck chase sequence perhaps drags just a little. The brilliant Michael Kamen also supplies us with an elegant, sensual and brooding score that is a vital player unto itself, complimenting the visuals excellently.
In spite of these pluses, there are some minor quibbles. As I said before, the truck finale is perhaps a bit long, even though the stunt work is amazing, but it does slow the pace a bit. Talisa Soto is indeed beautiful as Sanchez' girlfriend but, bless her, she isn't exactly the most talented actress on the planet. She plays her part well enough, but the role isn't exactly Oscar-worthy, and it's not helped by the fact that the script tends to relegate her to the sidelines. Everett McGill's cigar-chomping Killifer is rather too pantomime for me - he just doesn't stand up to the characters of Sanchez or Anthony Zerbe's Krest but he doesn't stick around long so doesn't get in the way too much.
With a striking leading man in Bond's shoes, Licence To Kill deserves a lot more credit than it gets. This is the film that broke the mould, opening the doors to a more adult, violent Bond world that continued briefly with some of the Brosnan films and certainly with Daniel Craig's portrayal of the character. In Timothy Dalton we have a brilliant actor in the starring role who brought us a more human and believable Bond, yet it is Daniel Craig who is currently getting the credit for these exact traits. Don't get me wrong, his characterisation is superb. But Dalton is the one who started it off, and it is a shame that he only made the two films.
John Glen says that from all of the Bond movies that he directed, Licence To Kill is the one he is most proud of. And rightly so. Not only do we get a more fleshed-out character in Bond than previous outings, we get a more believable and mature storyline, with great characters and competent direction. Definitely one of the most underrated Bond movies, this engaging film is a great piece of entertainment, and one that I hope will gather praise with time. See it.
4 stars.