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In 1934, Frank Hamer and Manny Gault, two former Texas Rangers, are commissioned to put an end to the wave of vicious crimes perpetrated by Bonnie Parker and Clyde Barrow, a notorious duo of infamous robbers and cold-blooded killers who nevertheless are worshiped by the public. The Highwaymen 2019 review : Expectations: To see a period piece centered around the take down of Bonnie and Clyde and all the events that led up to it.
What happened: Exactly that. This movie isn't for everyone, but if you are hoping to see a good period piece with realistic action and events. You'll love this film. ***Tracking down Bonnie & Clyde***
Based on the real story, two renowned retired Texas Rangers (Kevin Costner & Woody Harrelson) are commissioned to track down and execute Bonnie & Clyde in 1934 after other authorities have failed.
“The Highwaymen” (1983) is a great counterbalance to the 1967 movie with Beatty & Dunaway, which painted the thugs more sympathetically, as well as the excellent “Bonnie & Clyde: The True Story” (1992).
The filmmakers shoot for realism rather than the thrills of, say, James Bond or Batman. And by "realism" I don't mean exact historical accuracy; movies never are for many reasons. For instance, Frank Hamer never approached Bonnie & Clyde from the front of their vehicle. Hamer & co. just blew them to smithereens as soon as it was determined it was the rogue couple.
The picture is a reverent period piece about life in the Great Depression and the pursuit & execution of the infamous duo by a couple of aged, but experienced men. The film has the confidence to take its time, unlike say "Aquaman,” which anxiously jumped to a wild action scene just when a dramatic part was getting interesting. If "The Highwaymen" is sometimes slow & boring it's because the actual pursuit was also slow and often boring. This is not a flick for people with ADHD who demand an explosion every 5-7 minutes. It's for people who favor period pieces like "The Whole Wide World," "Cross Creek," "Of Mice and Men," “The Cider House Rules,” "The Green Mile" and "Water for Elephants."
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Title : Wonder Woman 1984 Wonder Woman 1984 genre : Fantasy, Action, Adventure Wonder Woman 1984 crew : Lucinda Syson, Hans Zimmer, Charles Roven, Steve Perry, Mark Scruton, Patty Jenkins, Patty Jenkins, Patty Jenkins, Patty Jenkins, Peter Russell Wonder Woman 1984 release date : 23 March 19 5 0 Wonder Woman 1984 runtime : 152 Minutes Wonder Woman 1984 Crew : Lucinda Syson, Hans Zimmer, Charles Roven, Steve Perry, Mark Scruton, Patty Jenkins, Patty Jenkins, Patty Jenkins, Patty Jenkins, Peter Russell Wonder Woman 1984 movie cast : Gal Gadot, Chris Pine, Kristen Wiig, Pedro Pascal, Robin Wright, Connie Nielsen, Lilly Aspell, Amr Waked, Kristoffer Polaha, Natasha Rothwell ========================ஜ۩۞۩ஜ==========================
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Wonder Woman comes into conflict with the Soviet Union during the Cold War in the 1980s and finds a formidable foe by the name of the Cheetah. Wonder Woman 1984 2020 review : It isn't as easy as saying 'Wonder Woman 1984' is a good or bad movie. The pieces are there, and there are moments I adore, but it does come across as a bit of a mess, even though the action sequences are breathtaking. If you're a fan of the original film, you'll be more willing to take the ride, but for those more indifferent, it may be a bit of a blander sit. If you can and are planning to watch it, the theatrical experience is the way to go - there is nothing like seeing these stunning sets, fun action scenes and hearing Zimmer's jaw-dropping score like on the big screen. - Chris dos Santos
Read Chris' full article... https://www.maketheswitch.com.au/article/review-wonder-woman-1984-a-new-era-of-wonder-occasionally If you enjoy reading my Spoiler-Free reviews, please follow my blog @ https://www.msbreviews.com
The superhero genre has been growing exponentially during the last decade, so it's bizarre to go through an entire year with only Birds of Prey and The New Mutants instead of literally dozens of films from both Marvel and DC. Thankfully, Warner Bros. decided to release Wonder Woman 1984 before the year's end, but not without a catch. Most people will only have the possibility of watching one of the few blockbusters of 2020 through HBO Max, a streaming service only available in a couple of countries, while some incredibly lucky moviegoers might have the chance of seeing this visually epic film in theaters, depending on the country's pandemic rules.
Fortunately, I'm one of those lucky people who got the opportunity to end 2020 on a positively immersive note by watching Patty Jenkins' latest flick in an almost empty IMAX theater (paradise). If you've been following me for some time, you know I'm a firm believer and defender of the so-called "theater experience", and I can't hide the fact that I felt extremely emotional going into one of the best, biggest theaters in Portugal to witness one of my Most Anticipated Movies of 2020. Until 2017, DCEU struggled to deliver a massively loved installment, and Wonder Woman came to the rescue. It was one of my favorite films of the respective year, so I was obviously excited for its sequel, even more having in mind the circumstances we're all living in.
In my opinion, this sequel stands close to its predecessor. With a lengthy runtime known for being associated with absolutely epic movies, I was confident that WW84 could deliver a solid film with great villains for a change. Well, Kristen Wigg and Pedro Pascal are definitely two of the indisputable standouts. Patty Jenkins, Geoff Johns, and David Callaham made the right decision in dedicating a significant portion of the screenplay to Barbara Minerva and Max Lord. Their arcs are far from being groundbreaking, but they're a thousand times more effective than the "CG punch bag" narrative.
Barbara follows the "lonely, insignificant, no one cares about me" archetype, and Wiig does a surprisingly remarkable job in portraying this character, but the script is what really makes her shine. At first, her comedic mannerisms left me a bit dubious about the eventual character's likeness. However, as time flies by, it's almost inevitable to feel sorry for Barbara, making her future motivations understandable and perfectly natural. On the other hand, Max Lord is apparently exploding with conviction, but his life is not as amazing as everyone might think. This time, it's Pedro Pascal who ends up elevating the character, delivering a brilliant performance with just the right amount of over-the-top expressions.
Even though these two are magnificent, Gal Gadot continues to prove that she's one of the best casting choices of the millennium, interpreting Diana Prince aka Wonder Woman. I seriously cannot imagine another actress wearing that costume, throwing that Lasso of Truth, incorporating the character's essence as seamless as Gadot. In this movie, she was able to perform highly emotional scenes, nailing every single one. Her chemistry with Chris Pine (Steve Trevor) is palpable on the other side of the world, and their interactions go through every zone of the emotion spectrum. Regarding Steve, I'm not going to spoil how he comes back or anything concerning his arc, but I can safely write that his presence in the film is both necessary and logical.
The biggest compliment I'll offer this sequel concerns its screenplay and direction. Finally, I can confidently write that the DCEU is capable of producing a well-structured, well-developed story with well-written characters. It doesn't have as much action as the original, but I still didn't feel the 151 minutes. WW84 flows incredibly well due to Jenkins' ability to fill up the runtime (almost) only with important scenes. There's a slight "over-persistence" in the attempt at sending a certain message (I'll get there), but story-wise, I sincerely wouldn't take a second out. Even the comic relief moments, particularly with Pine (who plays some sort of parallelism with the first movie's Diana), are welcome and timely.
The action scenes might be low on quantity, but the few that the audience gets are long, complex, and technically challenging to pull off. The opening sequence alone almost made me tear up due to its epicness. Hans Zimmer's powerful score, Richard Pearson's clean editing, and Matthew Jensen's camera work all work together to present a lengthy, grand, wide view of an Olympics-style obstacle course with young Diana. Throughout the entire film, the action is colorful, vibrant, fun, and entertaining… except for the (supposedly) climactic clash.
Well, to be fair, there are two climaxes during the last thirty minutes since WW84 owns two antagonists to play with. One of them is closed in perfect fashion, with the emotional stakes at their highest. Great job there, no complaints whatsoever. However, the main fight sequence inexplicably contrasts with the rest of the movie's action. The vibrant colors disappear and are replaced by a dull grey, which makes one of the characters involved (who shares the same color tone) hard to notice, transforming an epic final battle into an underwhelming, barely comprehensible collection of awkward cuts, punches, and screams. Gadot's golden suit is way less exciting (and poorly lit) than her original costume, and Barbara's arc ends without real closure.
In addition to this, Jenkins insists too much on passing to the audience that greed brings horrible consequences. "Be careful what you wish for", "money and power can't buy happiness", "be thankful for what you have", and messages along these lines are repeated continuously (implicitly and explicitly). I admit that it might be a nitpick of mine and that not many people will feel like I did, but I couldn't help but feel that some moments sounded and/or seemed a bit preachy and way too repetitive. Also, it's a bit weird how the official premise mentions Wiig as Cheetah, but this word is not mentioned once in the entire film… Nevertheless, don't be mistaken: I'm thrilled that WW84 is the last flick I watch at a theater this year!
All in all, Wonder Woman 1984 proves that DC continues on the track of success by delivering a well-structured, well-developed DCEU installment without an absurd amount of overwhelming CGI and/or forgettable villains. Patty Jenkins, Geoff Johns, and David Callaham's impressively layered screenplay makes the lengthy runtime feel adequate not only by offering epic, exciting, technically superb action set pieces, but also due to the remarkably well-written heroes and antagonists. Gal Gadot and Chris Pine are outstanding together, but Kristen Wiig and Pedro Pascal steal the show as the newcomers. With two wonderful "villains", WW84 boasts a solid, elaborate narrative that I was lucky to witness on the big screen. Unfortunately, the climactic battle is disappointingly underwhelming and colorless, Barbara's arc ends abruptly without true closure, and Jenkins insists too much on the thematic message of the story. These issues may affect more viewers or not, but one thing's for sure: it's one of the most entertaining movies I've seen all year, worthy of being seen on a massive theater.
Rating: A- Gal Gadot returns as Diana Prince in “Wonder Woman 1984” which has seen its release date shift a few times due to the Covid-19 pandemic. The film has started to open overseas and will arrive in the U.S. on Christmas day with a limited debut on HBO Max as well.
The story sees Diana now living in Washington D.C. in 1984. Diana is popular but has refused male companionship as she still longs for her late love Steve Trevor (Chris Pine).
Diana works in the Smithsonian Institute in antiquities and keeps her secret identity under wraps even when a daring mall heist forces her to leap into action.
A shy and passive employee named Barbara (Kirsten Wiig); who is afraid of her own shadow and largely ignored by her peers is befriended by Diana and they discover one item from the heist is inscribed with the ability to grant a wish. Unknowingly Diana wishes for Steve to return and Barbara wishes to be more like Diana which sets a chain of events into motion.
A shady business man named Maxwell Lord (Perdro Pascal) has his site on obtaining the relic as he believes having the ability to grant wishes will allow him to save his failing business and give him the power he craves.
With such a promising setup; the film ultimately does not deliver on its premise and becomes bogged down in drawn out sequences with surprisingly little action and gaps in logic that defy even standards for a comic book film.
The first 90 minutes of the film has roughly 10-15 minutes of action tops and we are instead given lengthy scenes of Steve trying to find an 80s fashion look; flying over fireworks, and Maxwell trashing from one locale to another without much needed continuity.
An action scene involving a convoy chase through the desert seems very inspired by “Raiders of the Lost Ark” and ultimately does not deliver especially with such a long gape between the action sequences.
The final act does attempt to redeem the film as seeing Barbara transform into her new persona is interesting and Wiig does a very solid job with the role. This sadly is undermined with a single line of dialogue which takes away a big part of the transformation that audiences deserved to see.
There was also a sequence where Diana races down the streets and takes to flight with her Lasso and then discovers she can fly like Superman. Not only is this not in keeping with the character; but we see this extended fast moving sequence where she is clearly heading away from D.C. at great speed only to arrive at a destination with an item which had been established to be back at her home in D.C. It is this sort of sloppiness that really detracts from the film. There is also the fact that Steve has to fly her around on a jet that even as a pilot he should not know how to fly as he has never flown a jet aircraft in his life.
When the big confrontation comes it is a letdown as it is not overly epic and the CGI really does not seem to mesh. What is an even bigger disappointment is that a certain character stands emoting for several minutes while Diana gives such a bland and extended speech that even my wife had to ask “who wrote these lines”.
The film was not a total disaster as the characters were interesting and worked well with one another making the film entertaining in parts despite being really disappointed with it.
The film strikes me as a product of the talented Patty Jenkins being able to do whatever she wanted after the success of the first film. Jenkins not only Directed but did the screenplay for it. Considering the amazing job she did writing “Monster” I had high expectations for the film but to me it seemed like it could have used a bit more attention to several aspects.
My summary would be the following… good cast, entertaining in parts, not much action over two hours, takes huge liberties with Diana and her abilities, massive gaps in logic even for a comic movie. It aims to be epic and comes up lacking. At least the mid. credit scene was worth it.
3 stars out of 5 Heroes are only as good as their villains. Nothing sums up the disappointment of WW84 more than this.
Maxwell Lord & Barbara Minerva are two of the most dangerously dark psyches in DC lore, both fond of extremely nasty, deliberately sociopathic behavior.
Whoever it was pretending to be them in WW84, it wasn't those two from the comics.
We had some namby-pamby twerp called "Max Lord" who was just a misguided fool trying to fill that emptiness in his pathetic life with a magic dream. Yawn.
Also, some good-hearted ditz called "Barbara Minerva" basically became inadvertent collateral damage whilst Lord's dopey plan panned out. Admittedly, that's vaguely similar to one of Cheetah's later origin stories, but it completely discounts her propensity for choosing the pure evil path.
It could have been fun watching a proper mind-controlling Lord and a proper soul-possessing Cheetah fight over the "ownership" of some red shirt. Alas, no.
What an absolute WASTE of two A-grade narrative heavyweights! But then, that's the problem.
You simply could NOT use characters like Lord & Cheetah appropriately in a movie targeted towards a family audience, and it's obvious that "make this family friendly" was plastered all over the script in red sharpie.
Nothing's likely to change for the third WW installment, where, in keeping with the cinematic PG-downgrade of supervillains, Circe is portrayed as a lonely kid's party magician who gets angry when her balloons get popped, so she turns everyone into pet unicorns. This movie is dumber than it should be. In short: it looks fantastic and the action is in perfect WONDER WOMAN style. The problems are with the plot, the attention to detail and coherence. I'm not saying this movie should be more realistic, but a lot of the decisions just don't make any sense and it is loaded to the brim with cliches (eg. ugly duckling that is not ugly at all). If you expect something to happen, it will 100%, there is no try to dig deeper - it is always the most obvious and easiest solution. Especially the all solving "action" of Diana, is more than questionable and leaves so many plot-holes.
If you don't care about logic (not realism) or a challenging story this movie is perfect for you... Do not trust the reviews before Dec 25th 2020 they are bought and paid for early release reviews, this movie is bad real bad, bad CGI and horrible story shame really the first one was amazing but Patty Jenkins should just stick with directing she is just not a good writer. 1984, a sequel to the fantastic "Wonder Woman", which showed a cool breeze in the middle of a saturated superhero cinematic market, is a fantastic continuation of the story of our favourite super heroine. Lighter in action, but thematically profound, this may not be a film that pleases everyone.
Let's start with the positives: Gal Gadot, as a wonder woman, continues to prove to be the perfect choice to play the part. The actress maintains a strong bond with the audience , really showing all the strong emotions that the character feels during the course of the story. Without her, the film would lose something really essential: her soul.
The story, thematically linked to greed, our deepest desires and selfishness, provides a journey of development for the characters that makes us reassess certain attitudes taken throughout our lives. The story seeks to develop each of the characters, and this is what gives it so much strength.
Chris Pine, as Steve Trevor, is also one of the film's high points, and his chemistry with Gadot remains explosive, providing the film with an engaging romance that will make anyone feel warm inside.
The film is completely different from the first, its style is radically changed, becoming lighter, like a cartoon we watched on Saturday morning as children. For some, dramatic stylistic change may be a negative factor, but in a year of so much suffering, lightness and hope are exactly what we need to abstract ourselves from real life for two hours.
When it comes to action, the film is not as explosive as first, it is contained and the action sequences, though incredible, are scarce. In a two and a half hour film, this may entice some to feel bored. But in my opinion, the film never slows down because of the incredible characters and their interactions.
As far as the most negative points of the film are concerned, I would say that the rope of suspension of credibility is really stretched during the duration of the film and we are asked to accept really ridiculous things that come out of nowhere. The film is also very cheesy, with sequences that can be considered lame and dull.
All in all, however, this film is a glimmer of hope and joy in a dark and desperate year. I strongly advise you to watch it, it's two hours of fun, with no problems and smiles in the mix. Although not perfect, and inferior to the first, this sequel is worthy of the adjective "Wonder". Wonder Woman 1984 is solid where it counts, maudlin in the way its fans need it to be, and, similarly, just funny enough to be charming. For all that goes unsaid, the writing is even occasionally clever. **This movie was horrible... and I realize this isnt my genre..but I sat at Christmas and watched it with my 2 grand daughters as they were sooo excited to see it..and we literally ALL hated it... The movie itself is pointless with alot of dialogue that means nothing... no real build up to anything.. If you have to use an entire 2 hours to "explain" a character your probably doing something wrong..
Was SERIOUSLY disappointed in ALL the actors in it..Particularly the guy from the Chapo Netflix series.. his character was HORRIBLE... and if I am being honest..I am not impressed with this woman they have chosen as WW... not in slightest.. extremely odd looking and well... I didnt even find her acting chops good for a film like this...
It was so bad we lasted about %80 of the film befoe we stopped it and started the older one.. I'm not a fan of this actess nor this take on WW at all... ** I have read the book "1984" and saw some aspects of the book in this movie- Big Brother, Group Think etc. The moral dilemma that Wonder Woman faces is truly heart wrenching. But as for the rest of the movie, there were some good action scenes and great CGI.I did notice that of all the great nations affected negatively, there was one significant one missing, China. Why would China have been left out of the turmoil affecting the rest of the world? Were the makers of the film afraid to show anything negative about China, but were willing to show other nations in a type of stereotypical light? The depiction of the President of the US, who in 1984 was actually Ronald Reagan, was shown to be an insecure and to be overly ready to shoot off the nuclear warheads. They never called him by name, but the dark hair and the jar of jelly beans were obvious who they were portraying. The hair of the villain of the movie and his ever growing quest for power were subtle clues for another person that Hollywood has deemed a power hungry demonic person. Ironically, the villain uses the same medium to spread his mental suggestions as the media uses to influence us to theirs. The definite political agenda ruined some of my interest in the movie but as eye candy and brain numbing entertainment it fits the bill, They leave the possibility of a prequel or sequel open in scenes at the end - after the credits
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A driving instructor must use her other-worldly gifts to save a lonely man’s daughter from a rock star looking to use her for Satanic purposes. Extra Ordinary 2019 review : Writer/directors Ahern and Loughman clearly have a lot of love for what they're doing and, at its best, ‘Extra Ordinary' is a tale of self-discovery alive with light humour and an awkward romance. But the film is way too uneven - with a wonky tone, hit-and-miss jokes, wobbly acting, and too many slapstick sight gags - to be anything more than merely ordinary. - Jake Watt
Read Jake's full article... https://www.maketheswitch.com.au/article/review-extra-ordinary-just-plain-old-ordinary **_A charming Irish ghost story that is consistently hilarious; but Chris de Burgh is definitely going to sue_**
>_There is only one way to appease a ghost. You must do the things it asks you. The ghosts of a nation sometimes ask very big things; and they must be appeased whatever the cost._
- Pádraig Pearse; "Ghosts" (1915)
>_Some ghosts are so quiet you would hardly know they were there._
- Bernie McGill; _The Butterfly Cabinet_ (2011)
The debut feature from writer/directors Mike Ahern and Enda Loughman, _Extra Ordinary_ (the reason for it being two words is explained in the movie) is an unexpectedly hilarious Irish ghost story. I'm sure there are other examples in the Irish comedy/ghost genre, but the only one I can think of off-hand is Neil Jordan's well-intentioned but poorly executed _High Spirits_ (1988), a film built almost exclusively on "_look how weird and strange the Oorish are_" humour. _Extra Ordinary_, on the other hand, isn't about the Irishness of the characters at all, focusing instead on their inherent decency, and, in the case of the villain, his tendency to call upon Astaroth so as to achieve musical success. As you do. It's a quant film in all the right ways, leaning into the trope of small-town people forced to deal with situations far beyond their ability, and it gets a lot of mileage out of just how completely out of their depth they find themselves. The humour is low-key and irreverent, but it doesn't rely on winking at an audience it assumes to be Irish – I would imagine most of the laughs will translate well to international markets. Some of the nuances will certainly be lost, but, by and large, the film is working with a broader palette by juxtaposing the supernatural with the utterly banal. And it works exceptionally well.
In an unspecified rural Irish town, Rose Dooley (Agatha Ellis) is a young girl with the ability to talk to ghosts, who works with her father, famed paranormal researcher Vincent Dooley (Risteard Cooper, playing the character as if he's in an ultra-serious existentialist drama). However, when an incident involving a dog, a bus, and a haunted pothole (don't ask), leaves Vincent dead, Rose swears never to use her ability again. Fast-forward 20-odd years, and the now adult Rose (stand-up comedienne Maeve Higgins, who is also credited with "additional writing") is a genial but lonely driving instructor whose only real friend is her sister Sailor (Terri Chandler). Rose receives calls every day from those looking for help contacting the dead, but she steadfastly refuses to get involved. Meanwhile, Martin Martin (a superb Barry Ward, whose physicality reminded me of Michael Crawford) and his daughter Sarah (Emma Coleman) are being haunted by Martin's deceased wife, Bonnie, and so Martin contacts Rose, pretending he wants a driving lesson. However, when he reveals his true intentions, although the two have really clicked, Rose refuses to help. At the same time, one-hit-wonder Christian Winter (a hilarious Will Forte in full caricature mode), living in Ireland as a tax exile, is desperate to make a comeback, and has abducted a local virgin, who he must sacrifice to Astaroth on the night of the blood moon. Which wouldn't be a problem except that his wife, Claudia (a spectacularly acerbic Claudia O'Doherty), accidentally causes the young girl to, well, explode. With the blood moon in a couple of days, Christian must find another virgin, and lands on Sarah. However, Rose has decided to relent and help Martin banish Bonnie, but upon arriving at the house, she quickly realises they have bigger problems when she finds Emma levitating (never a good sign). Deducing that she's imprisoned in a "holding spell", Rose tells Martin that the only way they can save her is by collecting the ectoplasm of seven ghosts, and they can only do that by letting each ghost temporarily possess Martin. And so begins a race against time as Rose and Martin try to save Sarah, and Christian attempts to stop them.
_Extra Ordinary_ is one of those films that could have been distractingly sardonic if it wasn't made with such genuine warmth. Sure, the humour is, for the most part, fairly irreverent, but it's done in such a way as to endear the characters to the audience due to their imperfections rather than encourage us to laugh at their failings. For example, when Rose explains to Martin what she has to do to release Sarah, he responds, "_oh, so like_ The Exorcist?", to which she says, completely seriously, "_I don't know, I've never met him._" It's a funny moment, but so too is it a rather sweet moment, and a lot of the humour is in this vein; on the edge of being sarcastic, but never cynical.
Another important aspect of the humour is that the jokes come thick and fast from literally the opening few seconds. Indeed, there's rarely a scene without some element of humour somewhere in it. This isn't the type of comedy where everything gets serious at certain points, or where the characters' experiences force them to make major changes to their lives because they have learned this lesson and that lesson. Instead, from the opening voiceover to literally the last words spoken, this is wall-to-wall humour. For example, Martin is essentially a victim of "_domestic violence by spectre_" (his deceased wife enjoys roughing him up), but Ahern and Loughman never allow this to become an issue as so many comedy writers do, using humour as a platform to examine serious topics. There's nothing wrong with that, of course, but it's just not how _Extra Ordinary_ operates. Along the same lines, there's Martin's relationship with Sarah. He's introduced as being overly protective of her (his great fear is that she'll end up "_a homeless sex maniac living on the streets and snorting hash_"), whilst she views him as a bit of an embarrassment. However, their relationship never leads to the clichéd old scene where [insert emotion here] they learn to value one another's flaws. Again, that's just not the film's _modus operandi_, and it's all the fresher because of it.
As mentioned, the humour is introduced in the first few seconds, as the film opens with a VHS recording of Vincent Dooley's public access TV show (featuring some of the most low-rent production values you'll ever see), with Dooley explaining that the reason cheese gives people bad dreams is because cheese is made of the same stuff as ghosts, and hence, ghosts find cheese easy to inhabit. In fact, he tells us, most cheese is haunted, as we watch a montage of stock footage of cheese complete with VHS tracking lines along the bottom of the screen. And this is the tone in which the entire film takes place; it never really departs from this register (which does have the effect of letting you know almost instantly whether you're likely to enjoy it). Later on, a major plot point is Christian's "_virgin rod_". This is a magical staff which can point Christian towards a suitable virgin for sacrifice (although as Claudia points out, it looks like a huge wooden dildo). To avail of its services, he must hold it up, whisper an incantation, then drop it, and it will point towards a virgin. He must then walk a few feet in that direction, pick it up, and repeat. And yes, it's as absurdly ridiculous as it sounds, and the shot of him wandering across an empty field as he continually picks up and drops the stick is absolutely hilarious.
The film doesn't rely too heavily on sight-gags, but there's a moment towards the end that is side-splitting. In a climactic car chase, as Sarah floats down the road towards the sacrificial altar, she's followed by Christian and Claudia in one car and Rose and Martin in another. The first few shots are all tight interiors, but when it finally cuts to a wide shot, we realise why – the entire chase is taking place at around 10mph, as they are all moving at the speed Sarah is floating. It's one of the most slapstick moments, and even without the increasingly frustrated Claudia's solution to speed things up, it's one of the best scenes in the film – but what she does to get things moving elevate it to a whole other level. And I won't spoil anything, but the "ginger werewolf scene" has to be seen to be believed; suffice to say, it's pure _Father Ted_ humour, with an elaborate build-up that makes the utter mundanity of the punchline exquisite (point of fact, I'd be shocked to find that Ahern and Loughman weren't _Ted_ fans, as the film has very similar DNA).
However, easily the single most hilarious moment is when we see a brief clip of Christian's claim to fame, a song called "Cosmic Woman" that is so obviously a riff on Chris de Burgh's "A Spaceman Came Travelling By" (1976), I'm pretty sure he could sue for royalties. Everything about it, from the cheesy special effects in the video to the instrumental refrain to the self-important lyrics, just screams out where it was taken from. At the screening I attended, the film had been getting a lot of laughs, but, much to my surprise, this scene didn't, with only a few of us finding it really funny. It was only when I was leaving the theatre I realised why – the majority of the audience was too young to be in on the joke. If you don't know the song, do yourself a favour and watch the video for "Spaceman" on YouTube before seeing the film. It'll enrich your viewing experience, trust me.
Elsewhere, there are plenty of smaller moments that really stand out. For example, right at the start, a "_based on a true story_" subtitle appears on screen. Perhaps getting a dig at the seemingly never-ending spate of horror films to make this claim, however tenuous, no sooner has the subtitle appeared when a garbage truck quite literally drives across the frame, erasing the words behind it. A beautiful and perfectly judged self-reflexive moment if ever there was one. Along the same lines is cinematographer James Mather's tendency to use overly dramatic crash pans (usually accompanied by a similarly overly-dramatic sound effect), especially in car scenes, with the incongruity between hyperkinetic form and utterly mundane content never failing to make me chuckle. Speaking of overly-dramatic shots, in one particular scene Mather even uses the Brian De Palma staple that is the split diopter, except he does so in the most mundane setting you could possibly imagine (in a scene in which a person holds a mop in front of their face as a disguise), with predictably hilarious results. Another shot worth mentioning is one I've seen used on a few posters, and it's "_The Exorcist_ shot", which sees Rose standing in Martin's garden looking up at the illuminated window. There's also Christian's truly hilarious driving lesson (his mortal fear is being behind the wheel of a car), which sees him spend more time putting on a pair of driving gloves than actually driving. Managing to go all of four feet (and somehow giving himself a bloody nose in the process), he decides he's had enough for the day, and then sits silently and motionless, until Rose realises he's waiting for her to come around and open his door. Also consistently funny is Claudia's inability to understand why the virgin must be sacrificed on a particular night, with her refrain of "_just kill the bitch_" one of the film's best running gags.
Finally, I'd be remiss here if I didn't mention Barry Ward's performance as Martin. Due to the nature of the plot, he has to play multiple characters, but as each one still looks like Martin, he has to convey everything with tone of voice and physicality, so as he moves from leering old man to chain-smoking nagging wife, you really see his range as a performer as he differentiates from one spirit to the next.
_Extra Ordinary_ is a distinctly Irish film, but it's one whose self-aware brand of Irishness should travel pretty well. Strong performances all-round, constant laughs, some terrific sight-gags, and a generally warm tone make for a fine film. For some, the highpoint will be Forte's ludicrously over-the-top Christian, for others, it will be the genuinely touching character beats between Rose and Martin. Irrespective of your preference, however, I would strongly recommend this truly charming film. In this horror comedy that really gets on towards the end, Will Forte's part meanders a lot. Which is what affected my viewing experience. But Maeve Higgins (in her feature film debut!) and the overall jocular vein that Extra Ordinary follows makes up for it, giving you shoots of LOL comedy (you WILL chuckle at least a dozen times, thanks to the wicked timing of some dialogues) and novel cinematic elements. Some scenes in here are as novel as the way the directors satirize aspects of black magic (Jarvis Cocker's end credits song is perfect), all of which are absolutely stunning. I really enjoyed Extra Ordinary save for the meandering bits that might test your patience a little. **Grade B-**.
(Watched at the 2020 European Union Film Festival of India (EUFF).) _absurd, bizarre, heart warming_
this one would become my classics that i would rewatch so many times. the climax really went peak, sksksksksk. gold comedy. **nice ending tho**
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I was never the biggest fan of Scooby-Doo's animated cartoon when I was young. I enjoyed it like any other kid who enjoys almost everything, but it was never a show that made me nervously excited during the day, waiting for it to come on TV. I vividly remember getting pumped, knowing that a new episode of Dragon Ball Z or Timon & Pumba would broadcast on that particular day. I never felt that way with Scooby-Doo, and honestly, I don't know why. I was always curious about sci-fi and "what lies beyond", so maybe the fact that the goal of the show was to justify every single paranormal activity with some "guy in a mask" didn't really appeal to the kid in me...
Either way, I still liked the series, and my memory is filled with all of the show's classic signatures: the (double or even triple) un-masking of the villains, Scooby jumping to Shaggy's arms because they both got scared, the ridiculously large sandwiches, you name it. Ironically, the biggest compliment I can give the film also relates to its major flaw. For any fan of the show, these classic moments will provide high levels of nostalgia and entertainment, so anyone who comes looking for that will definitely get what they desire.
However, even though Scoob! is far from feeling like a corporate flick packed with product placement (looking at you, Sonic the Hedgehog), I can't help but feel that the studio was embarrassed by its own property. They try so hard to make this movie belong to 2020 that they completely forgot about what makes the show special for so many people. From the weirdly confusing song selection to the way too modern plot points, Scoob! 's narrative distinctly follows an Avengers-style plot (including an obvious allusion to Captain America holding his shield) focusing strongly on the superhero theme.
They didn't believe that Mystery Inc. and the (successful) formulaic story were enough to hold the target audience's attention, so they decided to borrow from one of the most entertaining and financially impactful genres of today, losing the essence of their own IP. Therefore, despite Scoob! having almost all of the cartoon's classic scenes, it still feels detached from the source material. In addition to this, if you're not a fan of Scooby-Doo and if you don't know anything about it, then don't expect this film to explain anything to you.
Fred, Velma, and Daphne get separated from Shaggy and Scooby early on (due to a hilariously dumb scene that only kids will accept), so almost no character development occurs within the first group of people. This movie focuses more on the pair's adventure and their relationship dynamics (which are explored in a cliche yet efficient manner), leaving 3/5 of the Mystery Inc. feeling left off. Actually, now that I think about it, Scoob! doesn't even have a mystery to solve!
In the cartoons, every episode is about discovering what or who's causing a specific paranormal event. This film basically follows that formula for the first fifteen minutes (which serve as an origin story of the gang) and then takes an entirely different path story-wise. I'm not going to complain about the plot's absurdity because it's undeniably a kids' movie, but these forced attempts to adapt Scooby-Doo to 2020 are what ruin the whole thing for me. The voice acting is great, though, and hearing Frank Welker interpret Scooby again is incredibly joyful.
All in all, Scoob! possesses almost all of the classic moments from the original cartoon, which will surely leave fans of the series satisfied and feeling that heartwarming nostalgia. In addition to this, the voice work is really good for the most part, especially from the legend, Frank Welker as Scooby. However, the studio hurts the film with countless attempts to adapt the formulaic yet successful screenplay that the show employed for decades into 2020. From the superhero-like plot to the lack of a central mystery, Tony Cervone finds himself in a writing mess (four screenwriters and three "story by" credits) from a company ashamed of its own product. If you're a hardcore fan of the animated show, this movie might leave you satisfied. But if you don't share a special connection with these characters and their classic adventures, or if you don't know anything about this franchise at all, Scoob! not only doesn't care to introduce or develop its characters, but it definitely isn't going to convert you.
Rating: C- It was an okay Scooby-Doo movie for the kids. The animation looks great and for the most part the voice talents were good, especially Zac Efron as Fred was great, as were Gina Rodriguez and Amanda Seyfried as Velma and Daphne respectively. However, wasn't that thrilled with Will Forte's Shaggy (still think Matthew Lillard has been perfect thus far, I know they wanted a name, but doubt star power sells movies nowadays).
Anyway, it was a serviceable enough animated flick, personally I'm not a fan of the supernatural plots when it comes to the Scooby-Doo franchise, but fine for the family, so long as you're not an entrenched fan, I can see why some may hate this iteration. **3.25/5**