Thomas & Friends: The Great Discovery - The Movie (2008) Review:

Once Thomas and the Magic Railroad (2000) failed to make a lasting impression in theaters, HIT Entertainment, who recently acquired the rights to the show made their first experimental special in 2005. Thomas & Friends: Call All Engines! (2005) was a trial run for the studio to see if whether or not home video release movies would be profitable or not for the show. As time went on though, it was decided that the show would enter the realm of CGI and leave the practical sets and models behind. Entering the start of season 12 was the beginning of this next experiment where CGI was mixed with live-action. However HIT Entertainment released one more home video special. This would be their last special completely filmed with live-action models. And for what they were able to make, it is not vastly stronger by comparison to Thomas & Friends: Calling All Engines! (2005), but the studio did make several improvements. This shows that they're listening to the people who watch the show.

Thomas discovers some crazy stuff

Making this particular feature all the more unique was the inclusion of James Bond star Pierce Brosnan to narrate the story. At one point Brosnan was going to be the narrator to replace Michael Brandon and Michael Angelis respectively. However when HIT Entertainment moved fully to CGI production, his status was changed to temporary. The story for this special is about how Thomas ends up discovering the town of Great Waterton. An area on Sodor that had been lost to the ages. However with Thomas discovering it, Sir Topham Hatt gave him full reign over the reconstruction of it. Hatt also brought on Stanley to help out, a new tank engine that the rest of the engines found a liking too. This unfortunately causes Thomas to feel threatened. As an overall story, this kind of plot isn't unheard of. Nor is the story of Thomas feeling no longer like the number one engine that uncommon either. But being that this was Thomas' final adventure in physical model form, it's apparent the film crew wanted as much as possible.

The script to this special was written by Sharon Miller, a frequent collaborator with the franchise that would end up annoying many fans. Right now though, the work she completed here is harmless by comparison to her future work. The story may be somewhat cliche in certain areas but it isn't horrendous. This was also her real first feature credit. Directing again was given to Steve Asquith, which at this point was the most trusted hands that could and should handle the execution. So here's what has improved since Thomas & Friends: Calling All Engines! (2005). Remember those learning segments placed in almost every major scene in said special? Well no longer! There are none of that here and that's great. Many of those learning segments contained no value and felt more like filler just to complete the hour. This special shows things like that are not a necessity. Making things even better was the wider use of all the characters introduced into the Thomas & Friends show so far.

In this entry, not only the main eight steam engines (the steam team) are used, but several other minor characters. Narrow gauge engines that belong to Mr. Percival are also featured as well as the Jack the Sodor Construction company. The set of characters that were to start the spin-off series, but would end being canceled. As for Thomas feeling threatened about the newcomer engine Stanley, that's understandable to some degree. The thing is though, Stanley never came across with bad intentions to begin with. So it's odd Thomas would make such an assumption without trying to further judge Stanley. Guess that's what happens when you're the number one for so long. These are easy misunderstandings but they are ones treated to the extreme. The real drawbacks to this film though are some real obvious things. That being the lack physical limitations. There's a derailment that occurs where an engine flips off the tracks. This is done so to not frighten little viewers but most trains are unusable after a full rollover.

Stanley (far right)

The other is the use of flimsy bridges and engines jumping gaps. These kinds of things are to make the adventure exciting but this just feels improbable. A thinly constructed bridge will not hold a heavy metal tank engine. However, this does not take away from the set pieces used. Several sets and miniatures used within the running time are full of detail and make the visuals that much more realistic. There's also a collapse of a giant metal truss bridge and it looks awesome. Brosnan's narration of the story is also unique. He's like no other. His vocals are much smoother by comparison to anyone else and it works well. It's sad he didn't go further as the narrator. For music, the score and sing-along was composed by only Robert Hartshorne this time and not with Ed Welch. Everything there is done really well. The best of the songs are probably "Jobs a Plenty" and "Where oh Where is Thomas". Oddly enough the ending also includes a rap/pop song for Thomas. It's not bad but feels definitely like a fish out of water.

For the show's final special filmed in live-action, the plot itself isn't exactly the most unique. Also some scenes feel like the physics behind it aren't true. Yet with catchy songs, the use of as many characters as possible and having Pierce Brosnan narrate helps make this adequate to watch.

Points Earned -->7:10

Hush (2016) Review:

Throughout history, there have been all kinds of stories dealing with mysterious killers. Some of which still have not been named or captured and have lived in infamy for their obscene crimes. For horror films, the horror genre has made use of these stories to give viewers a better understanding how things went down. Whether certain liberties were taken with the material varies, but it's how the film makes the viewers feel after coming out is what matters. Several horror films rely more on gore and violence when really a movie with the exact opposite in traits can be just as terrifying. This is exactly what happens in this movie, which at first felt like it was going to be a by the numbers killing type horror film, when really, it wasn't at all. Prepare to feel the most restrained you've ever felt in some time.

Maddie

The story to this killer thriller is about Maddie (Kate Siegel), an author of a popular book. Hoping to strike gold and create another great novel, she continues to write in her home on her own. What may not be evident is the fact that she is mute and deaf. The only way she communicates is through sign language and mouthing words. She has a few friends but none that live with her on a constant basis. Unfortunately for her, a stalker (John Gallagher Jr.) discovers her house and realizes she has these disabilities. With that said he decides it would be great to slowly mentally torture her. Written and directed Mike Flanagan, this movie is one of the more taught ones shown in a while. Since much of the story revolves around these two, the development only happens here. Much of it is placed on Maddie, who goes through several strategies on how to escape the evil that has fallen on her.

The weakest link is actually the killer because nothing is really explained about him. The character name is just called "the man", and that's fine. Not every psycho has to have a name, it makes it all the more creepy. However, having no reason for the motivation of killing is something else. This is exactly the problem with Gallagher's role. He has no rationale as to why he's doing what he's doing. That doesn't mean he has to have a connection to Siegel's character either. But there must be something that is making this guy do what he's doing. Yet this part is overshadowed as to just how creative the heroine lead becomes when she realizes she's starting to run out of options. That's where things become so white-knuckled, it becomes too difficult to just sit and watch. Some viewers may feel the need to retroactively try and yell recommendations to the screen. As if the individuals on screen could hear.

Kate Siegel as Maddie does a great job. She truly makes a viewer believe everything she goes through. And as cliché as it is to have a female lead in a horror film, she deserves this one. Siegel has been in other productions prior but this would be her breakout role. It's truly impressive to watch this film unfold because of how well it was directed. Normally writer directors have tough times producing adequate films because the task of doing both isn't easy. However being that this was a small production, this might've lessened the burden. Flanagan was also the director to movies like Oculus (2013), Before I Wake (2016), Ouija: Origin of Evil (2016) and Gerald's Game (2017). Being that these movies have all had mainly positive praise, this shows Flanagan has a knack for the genre. This goes hand in hand with the tension delivered. Much of the execution remains silent to make the viewer feel like Maddie, which helps a lot. In some ways it reminisces to that of James Wan's Dead Silence (2007).

"The Man" killer

Camerawork was well put together too. James Kniest was the director of photography to this feature. Even though the overall setting changes very little, Kniest manages to find ways of showing every inch and crack of the house Maddie lives in. Kniest worked on other movies like Annabelle (2014), Within (2016) and The Bye Bye Man (2017). Adding to that is the violence that occurs throughout the running time. There's not a lot of gore, but what is shown still can get pretty gnarly. Some of it can really make a viewer cringe. Sadly this could also be said for film score. Composed by a duo who go by the Newton Brothers, the music to this movie isn't that impressive. It is understandable as to why it isn't heard much, but when it is used, it's not ultimately that complex. Thankfully it has no jump stings, but the organics of it does not blend with the visuals and comes off rather forgettable. Even if they worked with director Flanagan before.

While the music and antagonist motives are not that well rounded, the rest of this thriller is tense in its structure. The two main actors work their parts well, the cinematography is engaging and the whole situation presented to the audience reminds us just how vulnerable we all can be alone at home.

Points Earned --> 7:10

The Odd Couple (1968) Review:

Not every pairing is a perfect match. Everyone has their idiosyncrasies that only suits them. It's this part of living with someone else, one must learn to accept those differences. There's a give and take when it comes to these kinds of set ups. During the mid 20th century and before, married folks were under much more pressure to maintain their vows. If a divorce occurred, it was frowned upon, so many stuck it out. However, if one partner did leave the other, sometimes it was never brought to light. As time has progressed though, the notion of marriages not lasting forever isn't as uncommon. But would any of the separated ones hang out with another person from another divorce? Well look no further than to Neal Simon's film adaptation of one of his famous plays. Best known for putting the show on Broadway, Simon took it to the next step by writing a screenplay for the film.

"Smile at the camera Oscar..."

The story follows two men divorced by their wives that find some level of compensation through each others' tendencies. Oscar Madison (Walter Matthau) is a slob who can't get his act together for anything, especially maintaining any sort of common cleanliness. Felix Ungar (Jack Lemmon) is the exact opposite. He finds keeping things neat and tidy something that's fulfilling. However, Ungar took it to the extreme; finding almost EVERYTHING not to his liking because it was no according to his level of order. Yet somehow the two boneheads manage to make it work, at first. Until they start to realize how polarizing their preferences are, that's when things go bananas. And for what's shown, the execution is well done thanks to director Gene Saks. He may have not directed that many films in his lifetime, but he did helm Barefoot in the Park (1967), Cactus Flower (1969) and Brighton Beach Memoirs (1986).

There's a great mix of comedic timing and writing handled by the actors and Simon's writing. Jack Lemmon and Walter Matthau are a funny duo in this feature film. Lemmon perfectly drives up the hypochondriac scale past its peak, making cleaning and timeliness feel way more important than it should be. While Matthau distorts any sort of reality by feeding his guests with varying color assorted sandwiches. But of these two, the actor who steals the show was Matthau. His comedic talent shines through with some of the most hilarious lines ever spoken. And though what's said at times may not make sense immediately, the reasoning can be validated. There's also appearances from Herb Edelman, John Fiedler, David Sheiner, and Larry Haines, who play Oscar and Felix's gambling buddies. They two have their funny moments. One of the greater interactions however performed between Matthau and Lemmon were with Monica Evans and Carole Shelley.

These two actress really nailed their skills in sounding like sisters. Their giggles and reactions to either Matthau's and Lemmon's lines or themselves is well articulated and timed. Walter Matthau was known for several films like JFK (1991) and Grumpy Old Men (1993). Jack Lemmon is best known for other films too like The Great Race (1965), Airport '77 (1977), Short Cuts (1993) and Hamlet (1996). Both would also star in The Odd Couple II (1998). John Fiedler was best known for playing Piglet in all the Winnie the Pooh related films up until his passing in 2005. Herb Edelman was mainly a TV actor in shows like The Golden Girls and The Love Boat. The same could said for David Sheiner and Larry Haines. For Monica Evans, her career would not go much further but she would still voice Abigail from Disney's The Aristocats (1970) and Maid Marian from Robin Hood (1973). Carole Shelley also voiced characters in those two films but also voiced Lachesis from Hercules (1997).

Felix and Oscar's gambling buddies

The only component to not really come out looking unique was the camerawork. Provided by Robert B. Hauser, the cinematography is adequate for the movie. The problem is that it just doesn't have a real iconic setting. Sure, Oscar Madison's apartment is one of the more well known places to be featured in a movie, but it's just an apartment. The camera lens is wide enough to take all of the den and then some. Yet the audience only gets a good view of that, the kitchen and the main hallway. There's a bunch of other rooms but they're not explored that much either. Hauser also filmed for The Sweet Ride (1968), How to Steal the World (1968) and Soldier Blue (1970). For the film score, Neal Hefti brought the popular main theme to life. Although he only scored for a couple other films after, it would be this motif that would forever make his name recognizable. Throughout the movie, music isn't that abundant. But when it is, it's a classic sound.

While the cinematography is professionally crafted, it's just not that engaging when it comes to variety of areas to explore. Aside from this though, everything about this classic comedy works amazingly well. The music is catchy when heard, the comedic timing from the actors is well done and Jack Lemmon and Walter Matthau steal the show with their funny lines.

Points Earned --> 8:10