Aelfdene admitted his truth publicly, he was indeed an authentic djinn but all his magic has been depleted years ago when he granted his final wish. He asked to be left in peace for his remaining days but people came anyway and they wouldn’t stop coming, at all hours, each of them bearing worthless trinkets and gifts, begging to be made beautiful, healthy, rich, and powerful. Some even asked to become a djinn, which was the wish that made him mortal.
The snow pushes me back but I try to be a good boy and hold onto my person. We have to stay together. The snow closes cold over our heads and all our earlier quarrels are buried with us. I push my head free, gasping, throat burning from barking the name of the best friend I lost in the avalanche.
The feast spread out before her was impressive indeed and it was all in her honor, comprising many of her favor meals for everyone knew Valeria was a carnivorous young lady, as far from being vegan as humanly possible, but eyebrows were raised when she refused the meat dish offered by her hosts because there was absolutely no mystery as to where it originated. It was human flesh. She remembered the grain from the time she accidentally had her brother for dinner as a child.
Based on the 1973 disaster novel, Nihon Chinbotsu by Sakyo Komatsu, Japan Sinks 2020 is a 10-episode anime series available on Netflix in which a series of major earthquakes hit Japan. We follow the Mutou family (who were separated when the first quake hit) as they reconnect amidst the chaos and try to escape the city before additional quakes and the possible eruption of Mount Fuji threaten to sink Japan.
And that’s all I’m going to give you because I truly do not want to spoil a moment of this for you.
So, would I recommend this series? Without a doubt but it comes with the caveat to keep in mind this is based on a disaster novel, so if you’re out for a lighthearted coming of age Ghibli romp full of magic and wonder, this might not be the anime you’re looking for. The Mutou family and the people they pick up along the way are plunged into extreme life and death situations and from early on you realize that No. One. Is. Safe. which I appreciate, though you might feel differently about it. Different bikes for different likes.
I’ve heard people complain about Naoya Wada’s character designs, Science Saru’s animation style and the fact that the characters in the series live under a constant cloud of hopelessness as the pendulum swings both ways as they experience lucky breaks and violently devastating events in near equal measure, but I was far too interested in the story to nitpick any of these details. When it comes to the show’s atmosphere, I suppose it all boils down to your personal outlook. Is the glass half full or half empty? Do you only see the unapologetically brutal chaos brought on by a natural disaster and how it brings out the worst in some people or can you admire the strength to keep moving forward, the determination to survive in the face of unending adversity which is a cornerstone of the human spirit? Again, each person to their tastes.
For my money, this is a wonderful, intense and compassionate anime series that starts off strong and remains consistent throughout. I started out only planning to watch one episode to get a feel for whether it was in my wheelhouse or not and ended up binging the entire thing in one sitting because each segment closed with a cliffhanger that immediately drew me to the following episode. This deserves more attention and respect than it’s getting. I hope that changes soon.
Ciao til next now.
Although raised amongst pious people, religion was something which could find no purchase on my soul but the day a firenado appeared from a storybook blue sky and struck only my house, reducing it to cinders, was the day I realized that I had transgressed against Divinity one time too many.
The sad truth of the matter was that mankind only managed to get a small fraction of the information correct regarding the rapture. All those who kept the faith within their hearts both alive and resurrected, did indeed rise up into the clouds to meet the Maker. What followed on Earth, however, was not the seven years of tribulations as prophesied, for all those left behind were immediately consumed by flames that reduced flesh and bone to a slag that slowly dripped into the hungry maw of Hell.
In 7500, directed by Patrick Vollrath, written by Vollrath and Senad Halilbasic, and starring Joseph Gordon-Levitt, a soft-spoken young American co-pilot aboard a Berlin-Paris flight struggles to save the lives of the passengers and crew when terrorists try to seize control of the plane.
Captain Michael Lutzmann (Carlo Kitzlinger) and First Officer Tobias Ellis (Joseph Gordon-Levitt) board an airplane and begin pre-flight checks before embarking on the flight from Berlin to Paris. Also on board is Tobias’ girlfriend, Nathalie (Aurélie Thépaut), who is one of the flight attendants and they have a brief conversation about which school their son should attend.
Once the plane takes off, a terrorist forces his way into the cockpit and although Tobias is able to shove the cockpit door closed before anyone else can enter, he suffers a bad wound to his arm by the terrorist inside the cockpit who stabs Lutzmann repeatedly before Tobias can knock out and tie up the hijacker.
Tobias signals Air Traffic Control and is ordered to divert to Hannover. Lutzman loses consciousness so Tobias attempts CPR but is unsuccessful. All the while, the remaining terrorists continuously attempt to break into the cockpit. Tobias informs ground control of the situation and is informed under no circumstance is he permitted to allow the terrorists inside. And the terrorists test his resolve by taking a hostage and threatening to kill the man unless they’re granted access to the cockpit. Tobias pleads with the terrorists in vain as they execute the hostage.
Tobias is visibly shaken. He attempts to render first aid to himself when the terrorists return with another hostage, this time a member of the flight crew. You guessed it, it’s Nathalie, Tobias’ girlfriend. Over the PA system, Tobias tells the passengers to fasten their seatbelts as he tries an aerial maneuver to make the terrorists release Nathalie. She manages to get free and struggles with the terrorists but they gains the upper hand and she is once again taken hostage. One of the terrorists holds a glass shard to Nathalie’s jugular and is going to kill her if Tobias doesn’t open the door. Tobias relents and agrees to open the cockpit door but Nathalie tells him not to, repeating, “It’s going to be all right! It’s going to be all right!”
What happens then? You’ll have to head over to Amazon Prime to find that out because I’ve reached the limit of my spoiler reveal for this film.
So, would I recommend it? Actually, I would. 7500 (which is airline code for a hijacking) is one of those fly-on-the-wall-almost-documentary-style films that takes place in a single location, in this case, the cockpit of a commercial airliner which is equipped with a monitor so we’re able to see the terrorists on the other side of the locked door. Joseph Gordon-Levitt gives an excellent performance as he cycles through a range of emotions in attempting to deal with a situation he is clearly not adequately trained to handle. There are a few logic issues I have with the plot but I can’t mention them without getting into spoiler territory, but I can say they weren’t so severe as to affect my enjoyment of the movie. So, if you’re the type of person who likes a thriller that slowly ratchets up the tension as events unfold in real time, progressing the situation from bad to worse, this film just might be worth your time.
Ciao til next now.
In Greyhound, directed by Aaron Schneider, screenplay by and starring Tom Hanks, based on the 1955 novel The Good Shepherd by C. S. Forester, an inexperienced U.S. Navy captain must lead an Allied convoy being stalked by a Nazi U-boat wolfpack during World War II.
Only a few months after the United States officially entered World War II, US Navy Commander Ernest Krause (Tom Hanks) receives his first war-time assignment aboard the destroyer USS Keeling, codenamed GREYHOUND, to deal with the problem of German U-boats disrupting convoys of supplies in the Mid-Atlantic gap between North American and Britain where shore-based military air support is sorely lacking. Accompanying Greyhound in the assignment to get the 37 Allied ship convoy safely to Liverpool are two British destroyers codenamed HARRY and EAGLE, and a Canadian Flower Class corvette codenamed DICKIE.
When the convoy is three days away from Liverpool, Greyhound sonar identifies an incoming U-boat closing in on the convoy and the destroyer prepares to intercept. The U-Boat is able to launch a single torpedo before the Greyhound fires a full pattern of depth charges. Luckily, the U-boat torpedo misses, and the Greyhound depth charges effectively destroys the U-boat.
Before the Greyhound crew can celebrate their victory, their sonar picks up multiple targets slowly approaching in the distance. A Wolf Pack of six U-boats are stalking the convoy, staying just out of firing range. Krause suspects the Wolf Pack is waiting for nightfall in order attack under the cloak of darkness.
When night falls, the U-boat attack commences and a number of passenger and freight ships are destroyed by torpedoes. Krause has sonar on a few of the U-Boats but chooses to rescue the survivors of the downed ships rather than engage the enemy. And after their successful attack, the U-boats pull back to a safe distance once again.
The following day, the U-boats mount another coordinated attack and the Greyhound crew are now being taunted by broadcasts from the lead captain of the Wolf Pack in an attempt to affect ship morale. During the Wolf Pack attack, the Greyhound is barely able to evade the torpedoes deployed against her but the Dickie and the Eagle, are less fortunate. The Dickie takes some damage but still seaworthy, the Eagle, however, eventually sinks. Through the combined efforts of the Greyhound and Dickie, another U-boat is destroyed but Krause’s destroyer is now down to only six depth charges and their ammunition is running low and the convoy is still two days away from Liverpool and not yet in range of air support.
What happens next? They would be telling, and you know I hate dealing out spoilers (somewhat) but you’re free to head over to AppleTV+ and find out all on your lonesome.
So, would I recommend Greyhound? I have to admit that based on the trailer, I probably wouldn’t have gone to the theater to see this, COVID-19 notwithstanding, but, surprisingly enough, yes, this gets a recommendation. In fact, of all the films I’ve watched over the past week, I enjoyed this one the most, which is saying a lot because I’m typically not a war film kind of guy. I think it’s because this film takes a different approach by placing us inside the Greyhound along with the crew through the entire skirmish. The adversaries remain faceless voices issuing taunts over the airwaves, and when convoy ships are destroyed it all happens at a distance. There are a few explosions, U-boat destruction is typically marked by oil slicks on the ocean’s surface and I believe there are only three scenes containing blood and they’re minimal at best. Unfortunately, also minimal is character development, though subtle Tom Hanks plays to his strengths in portraying an ordinary man facing extraordinary circumstances, and I’m a fan of Stephen Graham and Elisabeth Shue, even though they aren’t given much to do here.
Another thing Greyhound is lacking (and this time it’s a good thing) is that mid-movie slump. You know exactly what I’m talking about, when a film comes out the gate strong, then sags in the middle and has to ratchet up the action in the third act to get you interested again. I can safely say, once you’re aboard the Greyhound, your investment in the story and the outcome remains consistent throughout. Despite its shortcomings, it’s a very well-paced film and I’m impressed by Hank’s handling of the screenplay.
In closing, if you’re looking for the intense, high octane tension of a 1917 or Dunkirk, you should probably go watch 1917 or Dunkirk. Greyhound isn’t that sort of war film and it doesn’t have to be. But it most certainly is ninety minutes of streamlined sea battle that’s worthy of your viewing time.
Ciao til next now.
In The Old Guard, written by Greg Rucka, directed by Gina Prince-Bythewood and starring Charlize Theron, KiKi Layne, Matthias Schoenaerts, Marwan Kenzari, Luca Marinelli, and Chiwetel Ejiofor, a covert team of immortal mercenaries are suddenly exposed and must now fight to keep their identity a secret just as an unexpected new member is discovered.
Former CIA operative Copley (Chiwetel Ejiofor) hires a mercenary team to rescue a group of kidnapped children in South Sudan. During the mission, however, the team find no children, and are ambushed by a squad of soldiers and are killed with extreme prejudice. The problem is, the mercenaries don’t stay dead. Their bodies spit out bullets, wounds heal rapidly and they slay their attackers, all of which has been recorded by Copley to expose their gift of immortality.
The mercenary team consists of Andromache of Scythia, but you can call her “Andy” (Charlize Theron), Booker (Matthias Schoenaerts), Joe (Marwan Kenzari), and Nicky (Luca Marinelli) all of whom are centuries-old warriors with regenerative abilities who use their vast experience to help those in need.
While the team is hunting down Copely, the scene shifts to Afghanistan where U.S. Marine Nile Freeman (KiKi Layne) gets her throat slit in the line of duty, dies and recovers without a scratch. She is plagued by a disturbing dream that is somehow shared with the other immortals, who are now alerted to her existence, which forces Andy to track the Marine down and rescue her before the military brass can subject her to testing.
Copley shows video of the ambush to pharmaceutical executive Steven Merrick (Harry Melling), who naturally wants to capture the mercenaries and turn them into lab rats in order to uncover the secret of their abilities for fame and profit. Andy take Nile to France where she’s introduced to the rest of their team and she hears the story of Quynh (Veronica Ngo), Andy’s first comrade, who was captured by priests during the witch trials and cast into the sea in an iron maiden and has been continually drowning ever since, as the mercenaries have not been able to pinpoint the location of the iron maiden. Nile learns that neither she or the rest of the team is truly immortal and one day their ability to heal will stop without warning.
Merrick’s forces are able to track the mercenaries down and in the melee Joe and Nicky are captured and a heavily wounded Booker is left behind as bait for Andy, who has taken damage during the assault and discovers her body is no longer healing in the process. After a bit of computer hacking, Booker locates Copley, and he, Andy and Nile mount a rescue attempt.
And because I don’t like spoiling films (not much, anyway) that’s all I’m telling you. You wanna know how it ends? You know what to do. It’s available on Netflix for you to stream to your heart’s content.
So, would I recommend The Old Guard? Sure. Just go in knowing that this is based on a comic book series written by Greg Rucka and the plot feels comic booky in nature, which is a weird thing for me to say because this film is in my wheelhouse and I should like it better than I do. I suppose my biggest problem is that I have no connection to any of the characters. Oh, I’m told how wonderful the characters are but I’m not shown anything beneath that expositional surface. The story is laid out so matter of factly, interested in hitting story beats rather than providing texture, that it feels more like the pilot of a tv series than a fleshed-out movie. Items are introduced to set up a sequel or possibly a franchise and I know that’s a thing now, with everyone jumping on the How-To-Franchise-Like-Marvel bandwagon, but it shouldn’t be overtly shoved into a film in place of proper character and story development.
If I had my druthers, I would have liked to see Nile, our every-person, resist a little more. Resist coming to terms with what she’s become, resist the mercenaries and their cause, and resist the wholesale slaughter that comes part and parcel with joining the old guard (which she does a little but it’s not enough in my opinion). Having said all that, it ain’t a terrible movie (don’t go by me and my tastes, what the hell do I know?) and if you’re already subscribed to Netflix, you’re not going to be out of any extra money, and Charlize Theron knows how to throw down in a fight and there’s enough action to satisfy your deep-seated need to see bad guys catch a bullet.
Ciao til next now.
In Relic, directed by Natalie Erika James and written by James and Christian White, Kay (Emily Mortimer) receives a call from the police that her mother Edna (Robyn Nevin) has gone missing which prompts Kay and her grown daughter Sam (Bella Heathcote) to travel to their remote family home to investigate.
When they arrive, they find the house is full of clutter and mold and certain sections appear to be deteriorating and Post-It Notes are tacked up in every room with reminders like “set the alarm” and others with warnings like “do not follow it.” Kay remarks that Edna is sometimes forgetful but it’s clear the elderly woman is suffering from dementia.
As is the norm with horror films, there are creepy, unexplainable noises everywhere inside the house, a room (in this case, a walk-in closet) with a lock that spells trouble for anyone who enters inside, and one of the characters, Kay, is plagued by spooky dreams. I don’t mean to diminish this film by any means but some of the tropes simply weren’t handled very well, such as, Kay and Sam hear a noise coming from inside a wall in the living room, a loud thud in response to Kay’s knock and something massive is moving up inside the wall seemingly following a large path of mold. So, what do they do? Why they ignore it, of course. Move along, audience, nothing to see here. Now, let’s inspect Kay’s dream:
Kay is following a shadowy figure through the foggy woods and is led to a rundown cabin (wouldn’t be a respectable horror film without a cabin in the woods) and the interior is covered head to toe in mold. A naked, old, decrepit man is sitting on a bed and there are a series of jump cuts of decaying animals with the sound of buzzing flies and falls off the bed and there’s a jump cut to a decayed corpse who opens his pitch-black eyes just as Kay wakes up.
In the morning, Kay is drawn to the kitchen by the whistle of a tea kettle and finds Edna making a cuppa. The family doctor makes a house visit and despite the large black and purple bruise on Edna’s chest, that she can’t explain, the old woman seems to be in good physical health and has her mental faculties about, though she won’t say where she’s been. The doctor recommends that Kay and Sam stay with Edna to monitor her condition. Kay sensibly decides to look for a nursing home for her mother despite Sam’s protestations.
While cleaning the house, Sam finds a sketchbook from her granddad, and in it is a picture of the cabin from Kay’s dream. It turns out the cabin was the first house on the property, occupied by Kay’s great grandfather who died abandoned by his family. The cabin was torn down but the windows were rescued and reused for the house they’re currently staying in.
Edna’s dementia is getting worse. She’s talking to people who aren’t there, remarking about how unfamiliar the house seems, cutting her hand with a knife, throwing violent tantrums, eating photographs, and burying photo albums in the woods to keep those memories safe.
Sam, in the meanwhile, returns to that creepy walk-in closet and discovers it’s deeper than it appears. Past a pile of items in the back is an entire labyrinth of crawl spaces within but when she tries to turn back, she finds herself lost.
And that’s when things really get crazy. And nope, I’m not gonna tell ya what happens next. I’ve said too much already. If you really want to know, go watch the film for yourself.
So, would I recommend Relic? I suppose I would, though, fair warning, if you’re looking for jump-out-of-your-seat scares or cover-your-eyes-and-peek-through-your-fingers gore, you’re barking up the wrong film. Natalie Erika James’ directorial debut is a well-paced slow burn that successfully creates a unsettling atmosphere with superb acting, but if I had my druthers, I would have liked to see the story played straight without the gimmicky tropes that served no actual purpose other than to make it feel like a “horror” film and having Kay and Sam react to the bizarre and unexplainable occurrences happening before their eyes in a more honest and realistic fashion would have sold me even further. Cutting away from terrifying moments without the characters doing a proper investigation just to move the plot along (it happens twice) took me out of the film. Having said that, you could do a lot worse with 90 minutes of your life.
Ciao til next now.