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Reviews64
Brian B-2's rating
British camp horror at its best. Romance. Heroism. Absurd comedy. beautiful women, half dressed and undressed. Likable characters(mostly), and a fast enough pace to paper over and rush past the plot holes.
I doubt that more than a minute passed between laughs in this outrageous mix of adventure, horror, and love which takes favourite movie tropes out of the magic bag of tricks, twists them all up, and spins them into a weave of freshness.
For a simple escapist romp, they seldom have come better since the heyday of the Python boys. But you better like gore. Sure, it's cartoonish, but there is gore aplenty.Still, I thought it was worth it.
I doubt that more than a minute passed between laughs in this outrageous mix of adventure, horror, and love which takes favourite movie tropes out of the magic bag of tricks, twists them all up, and spins them into a weave of freshness.
For a simple escapist romp, they seldom have come better since the heyday of the Python boys. But you better like gore. Sure, it's cartoonish, but there is gore aplenty.Still, I thought it was worth it.
This is a "must watch". Even if you aren't a nature film fan, this charming well made movie is worth the investment of time. It clocks in at a sprightly hour and a half, which flies past like an eagle chasing its prey.
I generally find Alexander McCall Smith's novels 9and the series made from them - No. 1 Ladies Detective Club) a bit too precious. No question though that he knows, and loves, South Africa.
His script for this mock documentary, narrated by Paul Newman in what seems to have been his final performance, teeters on the edge of cliché and sentimentality, but never topples over. The narrative line of personalizing the story of one young meerkat to tell the tale of the Kalahari, of dessert life, and the cycle of life, works effectively, and to my mind, makes this a superior and more accessible movie than March of the Penguins.
The excellent score sets a tone, and a pace, which matches the story perfectly, and gives a sense of place. No soaring Beethoven or Mahler here. Real sounds of Africa. Done by a young English folk singer. Amazing.
What blew me away most though was the cinematography and editing. I can't get over the shots that James Honeycombe and his crew captured in their six month mission, and condensed into a stunning visual.
Please, watch this movie.
I generally find Alexander McCall Smith's novels 9and the series made from them - No. 1 Ladies Detective Club) a bit too precious. No question though that he knows, and loves, South Africa.
His script for this mock documentary, narrated by Paul Newman in what seems to have been his final performance, teeters on the edge of cliché and sentimentality, but never topples over. The narrative line of personalizing the story of one young meerkat to tell the tale of the Kalahari, of dessert life, and the cycle of life, works effectively, and to my mind, makes this a superior and more accessible movie than March of the Penguins.
The excellent score sets a tone, and a pace, which matches the story perfectly, and gives a sense of place. No soaring Beethoven or Mahler here. Real sounds of Africa. Done by a young English folk singer. Amazing.
What blew me away most though was the cinematography and editing. I can't get over the shots that James Honeycombe and his crew captured in their six month mission, and condensed into a stunning visual.
Please, watch this movie.
I enjoyed this movie a fair bit more than the average viewer, if ratings are to be believed.
This very British film is a nice switch from the typical Hollywood romantic comedy, and does not attempt to squeeze within the conventional mold which runs from Four weddings and a Funeral through Love Actually and beyond. The wry influence of the original Noel Coward play becomes fresh again decades later.
Colin Firth is especially adept underplaying the dissolute father in law. He is just there, being, not acting.Totally believable and convincing. When his character is illuminated in a brief soliloquy two thirds of the way through the movie, he is brilliant, and without the ham fisted exposition of so much modern writing, the entire family story is explained, and powerful social commentary on topics from hereditary lands to fox hunting to war to social decay to euthanasia are digested without chewing.
A great example of "Show, not tell".
Jessica Biel is beautiful, here as always, and is never requested to do more than she is capable of. I particularly liked how the film makers did not beat us over the head with her sexuality, going with a muted sensuality most of the movie, except in key scenes where her full power is unleashed to excellent effect.
Kristin Scott Thomas is well cast as the domineering disapproving mother in law, and the British supporting players are treats, though I thought Ben Barnes as the love interest lacked the presence to hold his own in this cast.
We could use more movies like this.
This very British film is a nice switch from the typical Hollywood romantic comedy, and does not attempt to squeeze within the conventional mold which runs from Four weddings and a Funeral through Love Actually and beyond. The wry influence of the original Noel Coward play becomes fresh again decades later.
Colin Firth is especially adept underplaying the dissolute father in law. He is just there, being, not acting.Totally believable and convincing. When his character is illuminated in a brief soliloquy two thirds of the way through the movie, he is brilliant, and without the ham fisted exposition of so much modern writing, the entire family story is explained, and powerful social commentary on topics from hereditary lands to fox hunting to war to social decay to euthanasia are digested without chewing.
A great example of "Show, not tell".
Jessica Biel is beautiful, here as always, and is never requested to do more than she is capable of. I particularly liked how the film makers did not beat us over the head with her sexuality, going with a muted sensuality most of the movie, except in key scenes where her full power is unleashed to excellent effect.
Kristin Scott Thomas is well cast as the domineering disapproving mother in law, and the British supporting players are treats, though I thought Ben Barnes as the love interest lacked the presence to hold his own in this cast.
We could use more movies like this.