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Andy K (10821 KP) created a post
Feb 8, 2019
Fran Donohoe (853 KP) rated Murder on the Orient Express (2017) in Movies
Nov 7, 2017
Frankie Francis recommended Saturday Night And Sunday Morning (1961) in Movies (curated)
Peter Sarsgaard recommended The Dresser (1983) in Movies (curated)
Dean (6921 KP) rated Murder on the Orient Express (2017) in Movies
Nov 9, 2017
All star cast (1 more)
Picturesque views
Pretty remake but lacking charm
I'm a bit Agatha Christie fan and love a Whodunit. I've seen the original Albert Finney version a few times and the David Suchet made for TV one. This is behind both of those. Although it has a great cast and some nice scenery it lacks any charm, suspense or tension. Maybe because I know the story so well but the flash backs, clues and final summing up weren't as good as the other versions. Might be more fun for those who haven't seen the other versions. I wasn't keen on Branagh's portrayal of Poirot either... But it's still a good story.
Paul Morrissey recommended Under the Volcano (1984) in Movies (curated)
Otway93 (567 KP) rated Annie (1982) in Movies
Jun 14, 2022
Casting (2 more)
Music
Feel
Absolutely charming!
Until recently, it's been a film that's never really appealed to me, but watching it now I can see that it is a charming, emotional, and all-round superbly made musical.
The way the film is made is incredible. Although it was released in 1982, the film has the charm, feel and humour of a musical released in the 1950s or 60s, which is makes it feel that much more special.
The casting is superb, including legends Tim Curry, Carol Burnett, and last but not least the spectacular Albert Finney. Obviously I must mention Aileen Quinn, who put on an outstanding performance as the beloved orphan, Annie.
Finally, the music is great, ranging from silly drunken tunes from Carol Burnett, to Annie's emotional tunes such as "Tomorrow", which when seen on screen adds a whole new layer of emotion to the song.
Overall, an almost perfect film, perfect for musical lovers!
The way the film is made is incredible. Although it was released in 1982, the film has the charm, feel and humour of a musical released in the 1950s or 60s, which is makes it feel that much more special.
The casting is superb, including legends Tim Curry, Carol Burnett, and last but not least the spectacular Albert Finney. Obviously I must mention Aileen Quinn, who put on an outstanding performance as the beloved orphan, Annie.
Finally, the music is great, ranging from silly drunken tunes from Carol Burnett, to Annie's emotional tunes such as "Tomorrow", which when seen on screen adds a whole new layer of emotion to the song.
Overall, an almost perfect film, perfect for musical lovers!
BankofMarquis (1832 KP) rated Big Fish (2003) in Movies
May 1, 2020
Whimsical, Fantastical and Entrancing
Looking for a charming, fantastical diversion that will whisk you away from this world for 2 hours? Look no further than the heartwarming father/son story BIG FISH.
Set in the unmistakable stylings of idealic living from the mind of Tim Burton, BIG FISH tells the tale of a father by the name of Ed Bloom (the great Albert Finney) who's son, Will Bloom (Billy Crudup - fresh off of ALMOST FAMOUS) has separated himself from his father for he is sick of the "tall tales" that his father tells about his life. Most of the movie is the reconciliation of father and son set against the backdrop of these fantastical stories (the younger Ed Bloom is played with whimsical wonder by Ewan McGregor).
And...it is the telling of these stories where Director Tim Burton really shines. It is a perfect match of Director, tone and style to tell the story. He uses a primary color palate (much the same way he used it in Edward Scissorhands) punctuated by "steam punk blacks and grays" that creates a world that is a wonder to look at and is instantly recognizable not only by what is familiar but also by how it is UN-familiar. If overused, this type of stylings could be a detriment to the storytelling, but in BIG FISH, Burton paints the canvas perfectly.
As I stated, McGregor is whimsical as the young Ed Bloom. You can see a young man exploring and drinking in all the world has to offer. On the other side, Albert Finney shows that he has a twinkle in his eye (even though the older Ed Bloom is battling a chronic disease). He sparkles when he tells his stories. Finney's performance draws you in while McGregor's keeps you there.
As does the performances of such terrific actors like Steve Buscemi, Helena Bonham Carter and Danny DeVito (as individuals that Ed meets along the way). They "get" what Burton is going for and embrace the charm and whimsy of it all. "Back in the real world" - a (then) unknown Marion Cotillard is engaging as Will Bloom's pregnant wife and Jessica Lange shines as Ed's wife who has "heard it all" and is still charmed by it all after all these years. There is a scene later in the film between Finney and Lange (and a bathtub) that shows that these 2 veteran actors can throw their fastball when asked.
I was entranced by the tall tales told in this film and I think you will be to.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Set in the unmistakable stylings of idealic living from the mind of Tim Burton, BIG FISH tells the tale of a father by the name of Ed Bloom (the great Albert Finney) who's son, Will Bloom (Billy Crudup - fresh off of ALMOST FAMOUS) has separated himself from his father for he is sick of the "tall tales" that his father tells about his life. Most of the movie is the reconciliation of father and son set against the backdrop of these fantastical stories (the younger Ed Bloom is played with whimsical wonder by Ewan McGregor).
And...it is the telling of these stories where Director Tim Burton really shines. It is a perfect match of Director, tone and style to tell the story. He uses a primary color palate (much the same way he used it in Edward Scissorhands) punctuated by "steam punk blacks and grays" that creates a world that is a wonder to look at and is instantly recognizable not only by what is familiar but also by how it is UN-familiar. If overused, this type of stylings could be a detriment to the storytelling, but in BIG FISH, Burton paints the canvas perfectly.
As I stated, McGregor is whimsical as the young Ed Bloom. You can see a young man exploring and drinking in all the world has to offer. On the other side, Albert Finney shows that he has a twinkle in his eye (even though the older Ed Bloom is battling a chronic disease). He sparkles when he tells his stories. Finney's performance draws you in while McGregor's keeps you there.
As does the performances of such terrific actors like Steve Buscemi, Helena Bonham Carter and Danny DeVito (as individuals that Ed meets along the way). They "get" what Burton is going for and embrace the charm and whimsy of it all. "Back in the real world" - a (then) unknown Marion Cotillard is engaging as Will Bloom's pregnant wife and Jessica Lange shines as Ed's wife who has "heard it all" and is still charmed by it all after all these years. There is a scene later in the film between Finney and Lange (and a bathtub) that shows that these 2 veteran actors can throw their fastball when asked.
I was entranced by the tall tales told in this film and I think you will be to.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
JT (287 KP) rated The Bourne Legacy (2012) in Movies
Mar 10, 2020
When Matt Damon and Paul Greengrass distanced themselves from another trip into the Bourne-verse it was hard to see if any film would ever make it into production. Then, along came Tony Gilroy, writer of the first three films he seemed to be the logical choice to co-write and direct the fourth installment in this ever popular action franchise.
The Bourne Legacy runs almost parallel with the events of The Bourne Ultimatum, but in this film the only time we get to see Matt Damon’s Jason Bourne is from the odd photograph and his name etched into wood on the underside of a bunk bed.
It’s time for a stare off!
For this outing Renner plays Aaron Cross an ‘outcome’ agent who finds himself on the run when the powers that be realize that Bourne has broken through and passed vital information about Treadstone and Black Briar to Pam Landy, who in turn passes it onto the media. So Retired Col. Eric Byer, USAF ( Norton) part of the sinister hierarchy decides it’s time to shut down and eradicate all other ops, including Cross.
It’s fraught with the occasional plot hole, (just how did Cross know where Shearing lived) here and there but that does little damage to the overall story which is actually quite good. Renner, who is already well equipped for these types of action films fills the void left by Damon very well. When he’s not battling wolves and shooting drones out of the sky he’s driving a motorbike through the streets of Manila, as well as running through every back street and staircase he can find. And he’s more than capable at hand to hand combat.
He’s joined on his adventure by Dr. Marta Shearing (Weisz) who worked with Cross in the beginning and was tasked with providing the agents with a specific set of medication to take, of which it seems Cross is no longer required but is desperately dependent on. Whereas Bourne tried to piece together parts of his life, Cross is like a crackhead desperate for the next fix and so his motives are different.
Gilroy manages the story well and there are some brief cameos from the likes of Scott Glenn, David Strathairn and Albert Finney to provide a reminder to us all about what has happened previously, just in case we are dealing with our own bout of memory loss. It’s disappointing not to see Damon reprise one of the best roles of his career but Renner does an admirable job and there is no question that there will be more life in him yet.
The Bourne Legacy runs almost parallel with the events of The Bourne Ultimatum, but in this film the only time we get to see Matt Damon’s Jason Bourne is from the odd photograph and his name etched into wood on the underside of a bunk bed.
It’s time for a stare off!
For this outing Renner plays Aaron Cross an ‘outcome’ agent who finds himself on the run when the powers that be realize that Bourne has broken through and passed vital information about Treadstone and Black Briar to Pam Landy, who in turn passes it onto the media. So Retired Col. Eric Byer, USAF ( Norton) part of the sinister hierarchy decides it’s time to shut down and eradicate all other ops, including Cross.
It’s fraught with the occasional plot hole, (just how did Cross know where Shearing lived) here and there but that does little damage to the overall story which is actually quite good. Renner, who is already well equipped for these types of action films fills the void left by Damon very well. When he’s not battling wolves and shooting drones out of the sky he’s driving a motorbike through the streets of Manila, as well as running through every back street and staircase he can find. And he’s more than capable at hand to hand combat.
He’s joined on his adventure by Dr. Marta Shearing (Weisz) who worked with Cross in the beginning and was tasked with providing the agents with a specific set of medication to take, of which it seems Cross is no longer required but is desperately dependent on. Whereas Bourne tried to piece together parts of his life, Cross is like a crackhead desperate for the next fix and so his motives are different.
Gilroy manages the story well and there are some brief cameos from the likes of Scott Glenn, David Strathairn and Albert Finney to provide a reminder to us all about what has happened previously, just in case we are dealing with our own bout of memory loss. It’s disappointing not to see Damon reprise one of the best roles of his career but Renner does an admirable job and there is no question that there will be more life in him yet.
Bob Mann (459 KP) rated Murder on the Orient Express (2017) in Movies
Sep 29, 2021
You’ll never guess who dunnit…
There’s a big problem with Kenneth Branagh’s 2017 filming of the Hercule Poirot-based murder mystery…. and that’s the 1974 Sidney Lumet classic featuring Albert Finney in the starring role. For that film was so memorable – at least, the “who” of the “whodunnit” (no spoilers here) was so memorable – that any remake is likely to be tarnished by that knowledge. If you go into this film blissfully unaware of the plot, you are a lucky man/woman. For this is a classic Agatha Christie yarn.
The irascible, borderline OCD, but undeniably great Belgian detective, Poirot, is dragged around the world by grateful police forces to help solve unsolvable crimes. After solving a case in Jerusalem, Poirot is called back to the UK with his mode of transport being the famous Orient Express. Trapped in the mountains by an avalanche, a murder is committed and with multiple suspects and a plethora of clues it is up to Poirot to solve the case.
Branagh enjoys himself enormously as Poirot, sporting the most distractingly magnificent facial hair since Daniel Day-Lewis in “The Gangs of New York”. The moustache must have had its own trailer and make-up team!
Above all, the film is glorious to look at, featuring a rich and exotic colour palette that is reminiscent of the early colour films of the 40’s. Cinematography was by Haris Zambarloukos (“Mamma Mia” and who also collaborated with Branagh on “Thor) with lots of innovative “ceiling down” shots and artful point-of-view takes that might be annoying to some but which I consider as deserving of Oscar/BAFTA nominations.
The pictures are accompanied by a lush score by Patrick Doyle (who also scored Branagh’s “Thor”). Hats off also to the special effects crew, who made the alpine bridge scenes look decidedly more alpine than where they were actually filmed (on a specially made bridge in the Surrey Hills!).
All these technical elements combine to make the film’s early stages look and feel truly epic.
And the cast… what a cast! Dame Judi Dench (“Victoria and Abdul“); Olivia Coleman (“The Lobster“); Johnny Depp (“Black Mass“); Daisy Ridley (“Star Wars: The Force Awakens“); Penélope Cruz (“Zoolander 2“); Josh Gad (Olaf!); Derek Jacobi (“I, Claudius”); Willem Dafoe (“The Great Wall“) and Michelle Pfeiffer (“mother!“). A real case again of an “oh, it’s you” film again at the cinema – when’s the last time we saw that?
It’s also great to see young Lucy Boynton, so magnificent in last year’s excellent “Sing Street“, getting an A-list role as the twitchy and disturbed countess.
With all these ingredients in the pot, it should be great, right? Unfortunately, in my view, no, not quite. The film’s opening momentum is really not maintained by the screenplay by Michael Green (“Blade Runner 2049“; “Logan“). At heart, it’s a fairly static and “stagey” piece at best, set as it is on the rather claustrophobic train (just three carriages… on the Orient Express… really?). But the tale is made even more static by the train’s derailment in the snow. Branagh and Green try to sex up the action where they can, but there are lengthy passages of fairly repetitive dialogue. One encounter in particular between Branagh and Depp seems to last interminably: you wonder if the problem was that the director wasn’t always looking on to yell “Cut”!
All this leads to the “revelation” of the murderer as being a bit of an anticlimactic “thank heavens for that” rather than the gasping denouement it should have been. (Perhaps this would be different if you didn’t know the twist).
However, these reservations aside, it’s an enjoyable night out at the flicks, although a bit of a disappointment from the level of expectation I had for it. I can’t be too grumpy about it, given it’s a return to good old-fashioned yarn-spinning at the cinema, with great visuals and an epic cast. And that has to be good news.
For sure, Branagh does make for an amusing and engaging Poirot, even if his dialogue did need some ‘tuning in’ to. There was a suggestion at the end of the film that we might be seeing his return in “Death on the Nile” – the most lush and decorous of Peter Ustinov’s outings – which I would certainly welcome. He will have to find another 10 A-list stars though to decorate the boat, which will be a challenge for casting!
The irascible, borderline OCD, but undeniably great Belgian detective, Poirot, is dragged around the world by grateful police forces to help solve unsolvable crimes. After solving a case in Jerusalem, Poirot is called back to the UK with his mode of transport being the famous Orient Express. Trapped in the mountains by an avalanche, a murder is committed and with multiple suspects and a plethora of clues it is up to Poirot to solve the case.
Branagh enjoys himself enormously as Poirot, sporting the most distractingly magnificent facial hair since Daniel Day-Lewis in “The Gangs of New York”. The moustache must have had its own trailer and make-up team!
Above all, the film is glorious to look at, featuring a rich and exotic colour palette that is reminiscent of the early colour films of the 40’s. Cinematography was by Haris Zambarloukos (“Mamma Mia” and who also collaborated with Branagh on “Thor) with lots of innovative “ceiling down” shots and artful point-of-view takes that might be annoying to some but which I consider as deserving of Oscar/BAFTA nominations.
The pictures are accompanied by a lush score by Patrick Doyle (who also scored Branagh’s “Thor”). Hats off also to the special effects crew, who made the alpine bridge scenes look decidedly more alpine than where they were actually filmed (on a specially made bridge in the Surrey Hills!).
All these technical elements combine to make the film’s early stages look and feel truly epic.
And the cast… what a cast! Dame Judi Dench (“Victoria and Abdul“); Olivia Coleman (“The Lobster“); Johnny Depp (“Black Mass“); Daisy Ridley (“Star Wars: The Force Awakens“); Penélope Cruz (“Zoolander 2“); Josh Gad (Olaf!); Derek Jacobi (“I, Claudius”); Willem Dafoe (“The Great Wall“) and Michelle Pfeiffer (“mother!“). A real case again of an “oh, it’s you” film again at the cinema – when’s the last time we saw that?
It’s also great to see young Lucy Boynton, so magnificent in last year’s excellent “Sing Street“, getting an A-list role as the twitchy and disturbed countess.
With all these ingredients in the pot, it should be great, right? Unfortunately, in my view, no, not quite. The film’s opening momentum is really not maintained by the screenplay by Michael Green (“Blade Runner 2049“; “Logan“). At heart, it’s a fairly static and “stagey” piece at best, set as it is on the rather claustrophobic train (just three carriages… on the Orient Express… really?). But the tale is made even more static by the train’s derailment in the snow. Branagh and Green try to sex up the action where they can, but there are lengthy passages of fairly repetitive dialogue. One encounter in particular between Branagh and Depp seems to last interminably: you wonder if the problem was that the director wasn’t always looking on to yell “Cut”!
All this leads to the “revelation” of the murderer as being a bit of an anticlimactic “thank heavens for that” rather than the gasping denouement it should have been. (Perhaps this would be different if you didn’t know the twist).
However, these reservations aside, it’s an enjoyable night out at the flicks, although a bit of a disappointment from the level of expectation I had for it. I can’t be too grumpy about it, given it’s a return to good old-fashioned yarn-spinning at the cinema, with great visuals and an epic cast. And that has to be good news.
For sure, Branagh does make for an amusing and engaging Poirot, even if his dialogue did need some ‘tuning in’ to. There was a suggestion at the end of the film that we might be seeing his return in “Death on the Nile” – the most lush and decorous of Peter Ustinov’s outings – which I would certainly welcome. He will have to find another 10 A-list stars though to decorate the boat, which will be a challenge for casting!