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BankofMarquis (1832 KP) rated The Lost City (2022) in Movies
Jun 4, 2022
Charming...with Charismatic Leads
Like most folks, I barely gave THE LOST CITY any notice when it came and went in movie theaters earlier in 2022. This Sandra Bullock/Channing Tatum vehicle looked derivative from earlier films (most notably 1984’s ROMANCING THE STONE with Michael Douglas and Kathleen Turner) and it blew in and out of theaters with hardly a notice. But…sitting on an airplane…I ran across this flick and thought I’d give it a go.
And…I’m glad I did! For THE LOST CITY is a fun, charming film with 2 charismatic lead actors that you will want to go on this adventure with.
Written by Oren Uziel, Dana Fox and Adam Nee and Directed by Adam and Aaron Nee, THE LOST CITY tells the tale of Romance Novel Writer Loretta Sage (Bullock) who gets caught up in a treasure hunt when a crazed Mega-Millionaire (played with a spry twinkle in his eye by Harry Potter himself, Daniel Radcliffe) kidnaps Loretta for she had written something in her latest novel that he thinks is a clue to find the titular LOST CITY. Coming to her rescue? Her clue-less Fabio-like Cover Model (played with charming density by Channing Tatum). What could possibly go wrong?
With that sort of premise, the rest of the story is fairly predictable and pedestrian, so the weight of the entertainment value of this film falls squarely on the shoulders of the charm, charisma and chemistry of the 2 leads - and the Direction of the Nee’s.
And…I’m surprised (and happy) to state that these all come through with flying colors making THE LOST CITY a pretty enjoyable romp.
Let’s start with Bullock and Tatum. They are really looking like they are enjoying themselves - and each other. Bullock is no stranger to playing emotionally repressed intellectuals and Tatum is no stranger to playing dumb lugs…and they both embrace these stereotypes and had fun brining these two to life. Add to this the aforementioned performance of Radcliffe as the comedic villain and an extended cameo from a very recognizable “A-List” performer - and the charm and charisma meter in this film is off the hook.
The Nees, then, play to the strengths of these performers and move the film quickly from set piece to set piece, wisely only slowing down the action to let these performers play. The Directors show a light touch to this piece - and the audience is rewarded by this.
Not the type of movie that will cause focus groups to sit around and discuss it after, but if you are looking for a fun romp, summer action/comedy flick to sit on the couch some summer afternoon/evening with a bowl of popcorn and your favorite beverage, look no further than THE LOST CITY.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
And…I’m glad I did! For THE LOST CITY is a fun, charming film with 2 charismatic lead actors that you will want to go on this adventure with.
Written by Oren Uziel, Dana Fox and Adam Nee and Directed by Adam and Aaron Nee, THE LOST CITY tells the tale of Romance Novel Writer Loretta Sage (Bullock) who gets caught up in a treasure hunt when a crazed Mega-Millionaire (played with a spry twinkle in his eye by Harry Potter himself, Daniel Radcliffe) kidnaps Loretta for she had written something in her latest novel that he thinks is a clue to find the titular LOST CITY. Coming to her rescue? Her clue-less Fabio-like Cover Model (played with charming density by Channing Tatum). What could possibly go wrong?
With that sort of premise, the rest of the story is fairly predictable and pedestrian, so the weight of the entertainment value of this film falls squarely on the shoulders of the charm, charisma and chemistry of the 2 leads - and the Direction of the Nee’s.
And…I’m surprised (and happy) to state that these all come through with flying colors making THE LOST CITY a pretty enjoyable romp.
Let’s start with Bullock and Tatum. They are really looking like they are enjoying themselves - and each other. Bullock is no stranger to playing emotionally repressed intellectuals and Tatum is no stranger to playing dumb lugs…and they both embrace these stereotypes and had fun brining these two to life. Add to this the aforementioned performance of Radcliffe as the comedic villain and an extended cameo from a very recognizable “A-List” performer - and the charm and charisma meter in this film is off the hook.
The Nees, then, play to the strengths of these performers and move the film quickly from set piece to set piece, wisely only slowing down the action to let these performers play. The Directors show a light touch to this piece - and the audience is rewarded by this.
Not the type of movie that will cause focus groups to sit around and discuss it after, but if you are looking for a fun romp, summer action/comedy flick to sit on the couch some summer afternoon/evening with a bowl of popcorn and your favorite beverage, look no further than THE LOST CITY.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated The Laundromat (2019) in Movies
Aug 1, 2021
Fun and Interesting
Do remember the Oscar nominated film THE BIG SHORT from 2015, where Director Adam McKay would make sense out of a dry subject (the financial crisis of 2008) by breaking the 4th wall and speaking directly to the audience, while also wrapping in a very strong emotional drama?
Well…Director Steven Soderbergh (ERIN BROCKOVICH) has taken that recipe and attached it to another dry subject (this time money laundering through off-shore “Shell Companies”) and has turned in a very good and interesting (though not quite as intense) film that got lost in the shuffle in 2019.
Starring Meryl Streep as a widow who is trying to get her Insurance Company to pay off after the death of her husband, THE LAUNDROMAT follows the trail through shell company after shell company as the money is Laundered by 2 unscrupulous Bankers (Gary Oldman and Antonio Banderas) in a series of vignettes.
While THE LAUNDROMAT doesn’t pack the punch of THE BIG SHORT (where the real life consequences of what happened impacted many, many people throughout the world), THE LAUNDROMAT falls just short in that only Meryl Streep’s character really suffers the consequences (though many unscrupulous players do get theirs in the end).
Soderbergh is a Director who’s work I have really, really liked throughout his career as he has a tendency to focus on the people, rather than spectacle, when telling a story, and it works well in this film. He gets the audience to care about the victims of the scheming money men and root like crazy for the “bad guys” to get theirs.
As for the acting, Meryl Streep (of course) is marvelous as Ellen Martin, the widow who’s tragic experience (the death of her husband - played by the great James Cromwell) sets off the course of events in this film.
Oldman and Banderas are equally as good as the narrators and antagonists of this piece. They play their roles with a slight wink in their eyes and a “devil-may-care” attitude which makes them charming, but does take a notch (or so) off of the drama of the piece.
Soderbergh, as he is want to do, fills this film with many memorable actors/characters in what amounts to extended cameos - Jeffrey Wright, Robert Patrick, David Schwimmer, Will Forte, Chris Parnell, Larry Wilmore and even Sharon Stone stop by for a moment to bring other characters into play and they all work well.
To be fair, some of the vignettes work better than the others, but all-in-all Soderbergh has crafted an interesting, fun and IMPORTANT film that will teach it’s audience about the inner workings of a system that most of us have heard about but never really looked into.
Check out THE LAUNDROMAT the next time you are scrolling through Netflix looking for something good to watch.
Letter Grade A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Well…Director Steven Soderbergh (ERIN BROCKOVICH) has taken that recipe and attached it to another dry subject (this time money laundering through off-shore “Shell Companies”) and has turned in a very good and interesting (though not quite as intense) film that got lost in the shuffle in 2019.
Starring Meryl Streep as a widow who is trying to get her Insurance Company to pay off after the death of her husband, THE LAUNDROMAT follows the trail through shell company after shell company as the money is Laundered by 2 unscrupulous Bankers (Gary Oldman and Antonio Banderas) in a series of vignettes.
While THE LAUNDROMAT doesn’t pack the punch of THE BIG SHORT (where the real life consequences of what happened impacted many, many people throughout the world), THE LAUNDROMAT falls just short in that only Meryl Streep’s character really suffers the consequences (though many unscrupulous players do get theirs in the end).
Soderbergh is a Director who’s work I have really, really liked throughout his career as he has a tendency to focus on the people, rather than spectacle, when telling a story, and it works well in this film. He gets the audience to care about the victims of the scheming money men and root like crazy for the “bad guys” to get theirs.
As for the acting, Meryl Streep (of course) is marvelous as Ellen Martin, the widow who’s tragic experience (the death of her husband - played by the great James Cromwell) sets off the course of events in this film.
Oldman and Banderas are equally as good as the narrators and antagonists of this piece. They play their roles with a slight wink in their eyes and a “devil-may-care” attitude which makes them charming, but does take a notch (or so) off of the drama of the piece.
Soderbergh, as he is want to do, fills this film with many memorable actors/characters in what amounts to extended cameos - Jeffrey Wright, Robert Patrick, David Schwimmer, Will Forte, Chris Parnell, Larry Wilmore and even Sharon Stone stop by for a moment to bring other characters into play and they all work well.
To be fair, some of the vignettes work better than the others, but all-in-all Soderbergh has crafted an interesting, fun and IMPORTANT film that will teach it’s audience about the inner workings of a system that most of us have heard about but never really looked into.
Check out THE LAUNDROMAT the next time you are scrolling through Netflix looking for something good to watch.
Letter Grade A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Movie Metropolis (309 KP) rated Star Wars: Episode VIII - The Last Jedi (2017) in Movies
Jun 10, 2019
The Galaxy like you've never seen it before
Crafting sequels is never easy, but creating a fitting sequel to 2015’s biggest movie and one of the world’s biggest franchises is no easy feat. Not only do you have to make a film that moves the game on from The Force Awakens, but one that also meets the incredibly high expectations of fans across the globe.
Who took on this ridiculous job I hear you cry? Well Looper’s Rian Johnson takes over directorial duties from J.J. Abrams and the result is The Last Jedi. But is this a fitting sequel or a lacklustre affair?
Following on from the events of 2015’s The Force Awakens, Rey (Daisy Ridley) develops her newly discovered abilities with the guidance of Luke Skywalker (Mark Hamill), who is unsettled by the strength of her powers. Meanwhile, the Resistance, led by General Leia Organa (Carrie Fisher) prepares to do battle with not only the First Order, but Supreme Leader Snoke (Andy Serkis) and Kylo Ren (Adam Driver) too.
The Last Jedi opens with a beautifully choreographed battle between good and evil as Resistance pilot Poe Dameron (Oscar Issac), assisted by the adorable BB-8, tries to take on the evil First Order. This stunningly directed sequence sets up The Last Jedi perfectly – this is one hell of a good-looking film.
Practical effects are the order of the day here, something some other franchises seem to have forgotten about, and the movie is all the better for having them there. From large scale model ships to the more intricate fauna, The Last Jedi seeps with attention to detail – no stone has been left unturned in creating a living, breathing world. So, it’s all the more disappointing to be sucked out of the spectacle with some occasionally very shoddy CGI.
Apart from a couple of lapses that are geared more towards the film’s finale, The Last Jedi is probably the best-looking Star Wars film out there. From the blood-red lair of Supreme Leader Snoke to the salt-encrusted planet of the film’s gorgeous finale, every frame gives you something to look at. Rian Johnson carefully focusses the cameras on our main characters, using intense close-ups to bleed every single drop of emotion from them. Speaking of which, the entire cast is absolutely mesmerising.
Daisy Ridley deserves recognition for being utterly brilliant in this instalment. I had my reservations about her ability to cope with the toll this franchise would take on the actress but she has proved me wrong, and then some. John Boyega is excellent and Laura Dern’s addition to the galaxy is wonderful. The problem is the cast is just so huge, it’s impossible to mention everyone. Oh, Adam Driver’s performance really has to be seen to be believed and Kylo Ren is definitely moving up the ranks of the Star Wars villain hierarchy. His take on the character in The Last Jedi is exceptional.
If The Force Awakens was J.J. Abrams love letter to the franchise, then The Last Jedi is the break-up song
Special mention must go however, to Carrie Fisher. Rian Johnson has stated that none of Fisher’s scenes were changed or moved after the actresses’ untimely death last year, but her time on screen really does take on new, and emotional, meaning here. Princess Leia is as much a Star Wars staple as Chewie, Luke or Han and the galaxy certainly won’t shine brighter without her presence. Nevertheless, this was a fitting tribute to the actress and a wonderful body of work to have her name attached to.
The script is like nothing Star Wars has ever seen before. Riddled with more twists and turns than spaghetti junction, it’s almost entirely unpredictable and that’s something you really don’t see come around very often. In any other franchise it would be exhausting, but here it’s exhilarating and incredibly well written.
At 152 minutes, The Last Jedi is a long film, the longest in the franchise in fact and there’s no getting away from that. The middle act in which some of our heroes traverse a vast casino planet are a little off pace and it does have a whiff of George Lucas’ less than stellar prequels about it, but the rest of the film moves at breakneck speed.
Overall, Rian Johnson has taken risks here and the majority of them pay off with fantastic results; Star Wars: The Last Jedi is a worthy sequel to an ever-growing brand and one that outdoes its predecessor by some margin. If The Force Awakens was J.J. Abrams love letter to the franchise, then The Last Jedi is the break-up song because while still feeling like a Star Wars movie in many ways, it’s so different it’ll have you picking your jaw up off the floor more than once. My only question is: why isn’t Rian Johnson directing Episode IX?
https://moviemetropolis.net/2017/12/14/star-wars-the-last-jedi-review-the-galaxy-like-youve-never-seen-it-before/
Who took on this ridiculous job I hear you cry? Well Looper’s Rian Johnson takes over directorial duties from J.J. Abrams and the result is The Last Jedi. But is this a fitting sequel or a lacklustre affair?
Following on from the events of 2015’s The Force Awakens, Rey (Daisy Ridley) develops her newly discovered abilities with the guidance of Luke Skywalker (Mark Hamill), who is unsettled by the strength of her powers. Meanwhile, the Resistance, led by General Leia Organa (Carrie Fisher) prepares to do battle with not only the First Order, but Supreme Leader Snoke (Andy Serkis) and Kylo Ren (Adam Driver) too.
The Last Jedi opens with a beautifully choreographed battle between good and evil as Resistance pilot Poe Dameron (Oscar Issac), assisted by the adorable BB-8, tries to take on the evil First Order. This stunningly directed sequence sets up The Last Jedi perfectly – this is one hell of a good-looking film.
Practical effects are the order of the day here, something some other franchises seem to have forgotten about, and the movie is all the better for having them there. From large scale model ships to the more intricate fauna, The Last Jedi seeps with attention to detail – no stone has been left unturned in creating a living, breathing world. So, it’s all the more disappointing to be sucked out of the spectacle with some occasionally very shoddy CGI.
Apart from a couple of lapses that are geared more towards the film’s finale, The Last Jedi is probably the best-looking Star Wars film out there. From the blood-red lair of Supreme Leader Snoke to the salt-encrusted planet of the film’s gorgeous finale, every frame gives you something to look at. Rian Johnson carefully focusses the cameras on our main characters, using intense close-ups to bleed every single drop of emotion from them. Speaking of which, the entire cast is absolutely mesmerising.
Daisy Ridley deserves recognition for being utterly brilliant in this instalment. I had my reservations about her ability to cope with the toll this franchise would take on the actress but she has proved me wrong, and then some. John Boyega is excellent and Laura Dern’s addition to the galaxy is wonderful. The problem is the cast is just so huge, it’s impossible to mention everyone. Oh, Adam Driver’s performance really has to be seen to be believed and Kylo Ren is definitely moving up the ranks of the Star Wars villain hierarchy. His take on the character in The Last Jedi is exceptional.
If The Force Awakens was J.J. Abrams love letter to the franchise, then The Last Jedi is the break-up song
Special mention must go however, to Carrie Fisher. Rian Johnson has stated that none of Fisher’s scenes were changed or moved after the actresses’ untimely death last year, but her time on screen really does take on new, and emotional, meaning here. Princess Leia is as much a Star Wars staple as Chewie, Luke or Han and the galaxy certainly won’t shine brighter without her presence. Nevertheless, this was a fitting tribute to the actress and a wonderful body of work to have her name attached to.
The script is like nothing Star Wars has ever seen before. Riddled with more twists and turns than spaghetti junction, it’s almost entirely unpredictable and that’s something you really don’t see come around very often. In any other franchise it would be exhausting, but here it’s exhilarating and incredibly well written.
At 152 minutes, The Last Jedi is a long film, the longest in the franchise in fact and there’s no getting away from that. The middle act in which some of our heroes traverse a vast casino planet are a little off pace and it does have a whiff of George Lucas’ less than stellar prequels about it, but the rest of the film moves at breakneck speed.
Overall, Rian Johnson has taken risks here and the majority of them pay off with fantastic results; Star Wars: The Last Jedi is a worthy sequel to an ever-growing brand and one that outdoes its predecessor by some margin. If The Force Awakens was J.J. Abrams love letter to the franchise, then The Last Jedi is the break-up song because while still feeling like a Star Wars movie in many ways, it’s so different it’ll have you picking your jaw up off the floor more than once. My only question is: why isn’t Rian Johnson directing Episode IX?
https://moviemetropolis.net/2017/12/14/star-wars-the-last-jedi-review-the-galaxy-like-youve-never-seen-it-before/
Daniel Boyd (1066 KP) rated The Night Of - Season 1 in TV
Jul 19, 2017
Fantastic performances by the entire cast (4 more)
Phenomenal Script
Beautiful cinematography
Clever use of lighting
Brillaint direction
A Masterpice of Storytelling.
The Night Of stars Riz Ahmed as Naz, a young guy from Manhattan from an Asian family, who makes a series of bad decisions on what was supposed to be a simple night out; leading to his subsequent arrest and trial for the murder of a young girl. While there is no denying that Naz made some bad decisions and it is hard to deny he looks guilty, we are on this guy’s side at the start of the series. Then Jon Turturro comes into the show as Naz’s lawer John Stone. This is Turturro’s best role in years, possibly in his entire career and it serves as a stark reminder how wasted this guy is in the Transformers series and Adam Sandler Movies. Both leads give convincing performances as their respective characters, thrust into a situation that ends up being way out of their depth, they are both fish out of water, on either side of the justice system and we see the adapt or die method used by each of them.
Preacher, Westworld and Stranger Things are widely considered to be the best new TV shows of 2016, but I reckon that The Night Of is probably the most important new show broadcast this year. In the wake of a plethora of horrific, recent terror attacks across the world and following the vote to elect Donald Trump as the president of the most powerful country in the world, (a man who once expressed the desire to ban all Muslims from entering the USA,) this show seems unfortunately more relevant than ever. The show doesn’t shove any explicit propaganda down your throat, but there is no denying the racist undertones present and the social issues that the show presents to us. The writing is also fantastic throughout and this is by far the most painfully realistic show I have seen in the last few years. The show isn’t without its quirks though, but the consistently realistic nature of the writing and the performances are what make this show so immersive. The series also takes the viewer on a journey of discovery, constantly dropping unexpected character twists and new hints towards what really happened on the night referred to in the show’s title. This show throws so many interesting conversation starters into the viewership’s collective mind and constantly keeps you guessing as a spectator to these gruesome events.
This is a show that everyone should try, in a post brexit world where racial tensions are at an extreme high, this show is painfully relevant to people on either side of the argument. The crime itself becomes a background element as we see the biased treatment of a young Muslim man by the system and the assumptions made for and against him. There are so many backdoor deals being made between lawyers and other law officials and really the worst light is thrown on the criminal justice system itself and how broken the whole thing is. By halfway through the series’ 8 episodes, the issue of whether or not Naz actually committed the crime is irrelevant, the most important thing at this point being trying to keep everybody involved with this high profile case happy.
Although the moral points that this show chooses to pursue are unflinching and extremely well handled, the more technical aspects of the show are also expertly executed. I have already spoke about Riz Ahmed and John Turturro’s stand out performances, but the show’s supporting cast doesn’t contain any weak spots either and features a well rounded variety of races, ages and social classes. Naz’s family are all brilliant as are the other lawyers that make up the case. I have also already spoke about the high quality script present in the show, but I feel that the show’s writing team can’t be praised enough for the consistently high quality script they have produced. The cinematography of the show is also impressive throughout, with each shot perfectly complimenting the tone that the show sets and framing the actor’s performances masterfully. The use of light is also well implemented and adds to each shot composition and the overall aesthetic of the show. As highlighted above the actor’s performances are fantastic, but they are guided very well by the show’s directors. The score is also a nice addition to the tone of the show, as are all of the sound effects and audio used throughout.
Overall, this is the definition of great television and is the example that all other TV shows should aim for. Even if you don’t agree with the moral compasses of the show’s characters, it is objectively impossible to deny the show’s high caliber of technical filmaking. This is without a doubt one of the best shows aired in 2016 and could even be considered as one of the best seasons of a TV show of the last decade.
Preacher, Westworld and Stranger Things are widely considered to be the best new TV shows of 2016, but I reckon that The Night Of is probably the most important new show broadcast this year. In the wake of a plethora of horrific, recent terror attacks across the world and following the vote to elect Donald Trump as the president of the most powerful country in the world, (a man who once expressed the desire to ban all Muslims from entering the USA,) this show seems unfortunately more relevant than ever. The show doesn’t shove any explicit propaganda down your throat, but there is no denying the racist undertones present and the social issues that the show presents to us. The writing is also fantastic throughout and this is by far the most painfully realistic show I have seen in the last few years. The show isn’t without its quirks though, but the consistently realistic nature of the writing and the performances are what make this show so immersive. The series also takes the viewer on a journey of discovery, constantly dropping unexpected character twists and new hints towards what really happened on the night referred to in the show’s title. This show throws so many interesting conversation starters into the viewership’s collective mind and constantly keeps you guessing as a spectator to these gruesome events.
This is a show that everyone should try, in a post brexit world where racial tensions are at an extreme high, this show is painfully relevant to people on either side of the argument. The crime itself becomes a background element as we see the biased treatment of a young Muslim man by the system and the assumptions made for and against him. There are so many backdoor deals being made between lawyers and other law officials and really the worst light is thrown on the criminal justice system itself and how broken the whole thing is. By halfway through the series’ 8 episodes, the issue of whether or not Naz actually committed the crime is irrelevant, the most important thing at this point being trying to keep everybody involved with this high profile case happy.
Although the moral points that this show chooses to pursue are unflinching and extremely well handled, the more technical aspects of the show are also expertly executed. I have already spoke about Riz Ahmed and John Turturro’s stand out performances, but the show’s supporting cast doesn’t contain any weak spots either and features a well rounded variety of races, ages and social classes. Naz’s family are all brilliant as are the other lawyers that make up the case. I have also already spoke about the high quality script present in the show, but I feel that the show’s writing team can’t be praised enough for the consistently high quality script they have produced. The cinematography of the show is also impressive throughout, with each shot perfectly complimenting the tone that the show sets and framing the actor’s performances masterfully. The use of light is also well implemented and adds to each shot composition and the overall aesthetic of the show. As highlighted above the actor’s performances are fantastic, but they are guided very well by the show’s directors. The score is also a nice addition to the tone of the show, as are all of the sound effects and audio used throughout.
Overall, this is the definition of great television and is the example that all other TV shows should aim for. Even if you don’t agree with the moral compasses of the show’s characters, it is objectively impossible to deny the show’s high caliber of technical filmaking. This is without a doubt one of the best shows aired in 2016 and could even be considered as one of the best seasons of a TV show of the last decade.