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You Can't Spell America Without Me: The Really Tremendous Inside Story of My Fantastic First Year as President
Kurt Andersen and Alec Baldwin
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Political satire as deeper truth: Donald Trump’s presidential memoir, as recorded by two...
politics comedy
Movie Metropolis (309 KP) rated Mission: Impossible – Rogue Nation (2015) in Movies
Jun 11, 2019
Relentless and action packed
The Mission: Impossible franchise has had something of a resurgence over the course of its five films. The first film in the series was praised for its thrilling action and commanding turn from Tom Cruise.
The following two films failed to recapture what made the original such a hit, despite being popular at the box-office. 2011’s Ghost Protocol ensured the franchise still had a pulse and four years later Cruise returns in Rogue Nation. But does it continue the upward trend?
Series newcomer Christopher McQuarrie directs a slick if massively overlong film that is supported by the strengths of its leading stars and Cruise in particular proves there’s no limits to his prowess as an action hero.
Rogue Nation follows Cruise’s Ethan Hunt as he tries to prove the existence of a criminal syndicate, intent on destroying the hard work the IMF has done over the last films.
It’s a nice twist on a story that has been done to death in Rogue Nation’s predecessors and ensures the wheels keep turning nicely on this ever-popular franchise, though at times it can feel a little like the plot is steamrolling ahead and leaving you behind to fill in the missing pieces.
Cruise stars alongside Jeremy Renner, Simon Pegg, Alec Baldwin and the ever-beautiful Rebecca Ferguson as he goes about avoiding thugs and the CIA across what feels like every country on the planet.
At 131 minutes, McQuarrie manages to cram in a lot of action and a lot of scenery and the result is a film that feels overstuffed and a little like a very expensive tourist brochure. There’s also some blatant product placement for BMW that smacks you in the face with its lack of subtlety.
This is a real shame as the action sequences are slickly shot and beautifully choreographed and the fact that Cruise does the majority of his own stunt-work gives a sense of realism not matched by many other films – there’s just too much of it.
Nevertheless, Ferguson and Cruise have real chemistry and their scenes together are positively sizzling, helped in part by an almost operatic soundtrack that punches above what the genre asks for.
Perhaps the most impressive thing about Rogue Nation is its lack of predictability. There are numerous red herrings making it nearly impossible to plan where the film is going and where it is going to end – a real plus point in my eyes.
The ending is a little anti-climactic after two hours of non-stop car chases, motorcycle races and explosions but it leaves itself open for yet another sequel, which is more than likely.
Overall, Rogue Nation is a relentless film that is very well filmed and for the most part, exceptionally paced. It’s not quite up there with the original, but in sequel terms, it’s one of the best and your mission, should you choose to accept it is to go and watch it too.
Gosh that theme tune is catchy!
https://moviemetropolis.net/2015/08/02/relentless-and-action-packed-mission-impossible-rogue-nation-review/
The following two films failed to recapture what made the original such a hit, despite being popular at the box-office. 2011’s Ghost Protocol ensured the franchise still had a pulse and four years later Cruise returns in Rogue Nation. But does it continue the upward trend?
Series newcomer Christopher McQuarrie directs a slick if massively overlong film that is supported by the strengths of its leading stars and Cruise in particular proves there’s no limits to his prowess as an action hero.
Rogue Nation follows Cruise’s Ethan Hunt as he tries to prove the existence of a criminal syndicate, intent on destroying the hard work the IMF has done over the last films.
It’s a nice twist on a story that has been done to death in Rogue Nation’s predecessors and ensures the wheels keep turning nicely on this ever-popular franchise, though at times it can feel a little like the plot is steamrolling ahead and leaving you behind to fill in the missing pieces.
Cruise stars alongside Jeremy Renner, Simon Pegg, Alec Baldwin and the ever-beautiful Rebecca Ferguson as he goes about avoiding thugs and the CIA across what feels like every country on the planet.
At 131 minutes, McQuarrie manages to cram in a lot of action and a lot of scenery and the result is a film that feels overstuffed and a little like a very expensive tourist brochure. There’s also some blatant product placement for BMW that smacks you in the face with its lack of subtlety.
This is a real shame as the action sequences are slickly shot and beautifully choreographed and the fact that Cruise does the majority of his own stunt-work gives a sense of realism not matched by many other films – there’s just too much of it.
Nevertheless, Ferguson and Cruise have real chemistry and their scenes together are positively sizzling, helped in part by an almost operatic soundtrack that punches above what the genre asks for.
Perhaps the most impressive thing about Rogue Nation is its lack of predictability. There are numerous red herrings making it nearly impossible to plan where the film is going and where it is going to end – a real plus point in my eyes.
The ending is a little anti-climactic after two hours of non-stop car chases, motorcycle races and explosions but it leaves itself open for yet another sequel, which is more than likely.
Overall, Rogue Nation is a relentless film that is very well filmed and for the most part, exceptionally paced. It’s not quite up there with the original, but in sequel terms, it’s one of the best and your mission, should you choose to accept it is to go and watch it too.
Gosh that theme tune is catchy!
https://moviemetropolis.net/2015/08/02/relentless-and-action-packed-mission-impossible-rogue-nation-review/
Phillip McSween (751 KP) rated Glengarry Glen Ross (1992) in Movies
Feb 21, 2019
Solid Gold Movie
Chaos ensues when a bunch or salesman at a real estate agency are forced into a high-stakes game where they either become top closers or get fired.
Acting: 10
Beginning: 10
You think the beginning is going to be weak…until Blake (Alec Baldwin) walks in. He is filled with such passion and rage, but the one thing he is lacking is fucks. Blake has zero fucks to give about anyone’s feelings or their jobs. “Fuck you, that’s my name!” he screams at someone thinking they will get the upperhand on him. Classic.
Characters: 10
Aside from Blake, the rest of the characters add depth to the movie. With their different personalities, each character has a distinctly different approach to the way that they sell and go about winning. Their choices and reactions hold sway over which direction the movie turns and what the audience thinks is going to happen next. As things unfold and they end up being questioned by the Detective (Jude Ciccolella), it’s interesting to watch them have different responses to the pressure.
Cinematography/Visuals: 9
I love the cinematic work here. The entire film has a dreary feel, almost like there’s a fog being cast over the characters and their dilemma. The light comes in small glimpses and you mostly see rain throughout. It has a suffocating feel, adding even more certainty that the characters are resigned to their own fate.
Conflict: 10
Look, I’m in sales and few things institute conflict like sales situations. Tell a bunch of guys that they either hit their numbers or they’re fired and there’s bound to be problems. As the film drags on, the desperation becomes even heavier. You feel for these guys, but not so much so that you don’t get the enjoyment of watching them crumble in high pressure situations. As douchey as it sounds, it’s actually kind of fun.
Genre: 7
Memorability: 7
Pace: 10
Once Blake enters the scene, the movie maintains its pace from start to finish. Fueled by conflict and desperation, the characters ultimately create a mystery that you want to get to the bottom of before the movie reaches its end. It’s refreshing when you watch a movie that doesn’t have any dead spots and director James Foley succeeded in making that a reality.
Plot: 10
What happens when you put a bunch of different personalities in a room and tell them they have a certain amount of time to complete a goal or else? The story is ultimately moved by how people respond to pressure situations. I can imagine when this was written, the direction may have changed directions a couple of times due to the personalities of the characters. Memorable characters can alter the direction of a plot for the sake of staying true to the characters.
Resolution: 4
Overall: 87
I hadn’t even heard of this movie until a couple of years ago. It’s funny, this movie was recommended to me by a Sales Manager who thought, “This is how the sales team should go after it!” After watching it, I thought, “This isn’t how selling should be at all!” Glengarry Glen Ross succeeds because it appeals to people for different reasons. Some see it as a cautionary tale while others view it as inspiration. I am in the camp of the former. I’m also in the popular majority that think the movie is awesome.
Acting: 10
Beginning: 10
You think the beginning is going to be weak…until Blake (Alec Baldwin) walks in. He is filled with such passion and rage, but the one thing he is lacking is fucks. Blake has zero fucks to give about anyone’s feelings or their jobs. “Fuck you, that’s my name!” he screams at someone thinking they will get the upperhand on him. Classic.
Characters: 10
Aside from Blake, the rest of the characters add depth to the movie. With their different personalities, each character has a distinctly different approach to the way that they sell and go about winning. Their choices and reactions hold sway over which direction the movie turns and what the audience thinks is going to happen next. As things unfold and they end up being questioned by the Detective (Jude Ciccolella), it’s interesting to watch them have different responses to the pressure.
Cinematography/Visuals: 9
I love the cinematic work here. The entire film has a dreary feel, almost like there’s a fog being cast over the characters and their dilemma. The light comes in small glimpses and you mostly see rain throughout. It has a suffocating feel, adding even more certainty that the characters are resigned to their own fate.
Conflict: 10
Look, I’m in sales and few things institute conflict like sales situations. Tell a bunch of guys that they either hit their numbers or they’re fired and there’s bound to be problems. As the film drags on, the desperation becomes even heavier. You feel for these guys, but not so much so that you don’t get the enjoyment of watching them crumble in high pressure situations. As douchey as it sounds, it’s actually kind of fun.
Genre: 7
Memorability: 7
Pace: 10
Once Blake enters the scene, the movie maintains its pace from start to finish. Fueled by conflict and desperation, the characters ultimately create a mystery that you want to get to the bottom of before the movie reaches its end. It’s refreshing when you watch a movie that doesn’t have any dead spots and director James Foley succeeded in making that a reality.
Plot: 10
What happens when you put a bunch of different personalities in a room and tell them they have a certain amount of time to complete a goal or else? The story is ultimately moved by how people respond to pressure situations. I can imagine when this was written, the direction may have changed directions a couple of times due to the personalities of the characters. Memorable characters can alter the direction of a plot for the sake of staying true to the characters.
Resolution: 4
Overall: 87
I hadn’t even heard of this movie until a couple of years ago. It’s funny, this movie was recommended to me by a Sales Manager who thought, “This is how the sales team should go after it!” After watching it, I thought, “This isn’t how selling should be at all!” Glengarry Glen Ross succeeds because it appeals to people for different reasons. Some see it as a cautionary tale while others view it as inspiration. I am in the camp of the former. I’m also in the popular majority that think the movie is awesome.
Sarah (7798 KP) rated The Departed (2006) in Movies
Feb 20, 2021
The best gangster flick made to date
Film #15 on the 100 Movies List: The Departed
The Departed is Martin Scorcese’s Oscar winning Irish gangster film released in 2006, a remake of the 2002 Hong Kong film Infernal Affairs, and loosely based around the real life Boston Hill Gang led by Whitey Bulger. It’s a film I remember watching when it was first released when I was at university, and I was blown away. It centres around Irish gang boss Frank Costello (Jack Nicholson) and his relationships with police detective mole Colin Sullivan (Matt Damon) and undercover state trooper Billy Costigan (Leonardo DiCaprio), as the latter two attempt to uncover each other’s identities.
Colin Sullivan was introduced to Costello as a young boy, groomed into joining the Massachusetts State Police and soon rises to the ranks of detective in the Special Investigation Unit, led by Captain Ellerby (Alec Baldwin)and responsible for bringing down Costello and his gang. Conversely Billy Costigan suffered a troubled youth with numerous members of his family involved in Costello’s gang. He trains as a state trooper and due to his family’s criminal ties, is turned into an undercover agent by Captain Queenan (Martin Sheen) and Staff Sergeant Dignam (Mark Wahlberg), his role to infiltrate Costello’s gang. Soon suspicions are raised and the net begins to close in on everyone involved, with dire consequences.
Personally, I think this is one of the best gangster films I’ve ever seen, if not the best. It’s everything you’d expect and more from a film in this genre, and I’m not sure anyone other than Scorcese could pull off a crime thriller that manages to feature such prominent Celtic music with such flair. It has a whip smart, often funny script that features some cracking one liners and quips, especially from Mark Wahlberg’s Dignam. Yes it is a little crude and some of the dialogue could be considered as offensive by some, but to me this just makes it more realistic as you can’t exactly expect gangsters and police to talk politely. Of course the script is brought to life by a truly phenomenal cast, and arguably one of the best ensembles in a gangster film in terms of talent. Leonardo DiCaprio is no longer the fresh faced youngster he was in the days of Titanic, although he puts in a terrific performance as Billy. This is also one of the few films I’ve seen of Matt Damon’s where he doesn’t play a nice guy, and he really fits this surprisingly well. But it’s Nicholson who steals the show as Costello and he definitely gets the biggest share of the witty script, bringing some light humour to an otherwise menacing criminal figure. You can’t keep your eyes off him whenever he’s on screen, and I don’t believe anyone else could pull this off without seeming like an over the top caricature.
However it isn’t perfect. The relationship between police psychiatrist Madolyn Madden (Vera Farmiga) and both Sullivan and Costigan is a little unnecessary and not important to the main plot, but fortunately the performances from all involved mean this isn’t a major issue. And again, the film is rather long but fortunately the tense scenes and great acting, alongside a few well placed action scenes, mean it never feels too drawn out.
This is a shining example of how to do a gangster film, and one I’d wholeheartedly recommend. It’s an intelligent, performance driven masterpiece and entirely deserving of it’s Best Picture Academy Award win.
The Departed is Martin Scorcese’s Oscar winning Irish gangster film released in 2006, a remake of the 2002 Hong Kong film Infernal Affairs, and loosely based around the real life Boston Hill Gang led by Whitey Bulger. It’s a film I remember watching when it was first released when I was at university, and I was blown away. It centres around Irish gang boss Frank Costello (Jack Nicholson) and his relationships with police detective mole Colin Sullivan (Matt Damon) and undercover state trooper Billy Costigan (Leonardo DiCaprio), as the latter two attempt to uncover each other’s identities.
Colin Sullivan was introduced to Costello as a young boy, groomed into joining the Massachusetts State Police and soon rises to the ranks of detective in the Special Investigation Unit, led by Captain Ellerby (Alec Baldwin)and responsible for bringing down Costello and his gang. Conversely Billy Costigan suffered a troubled youth with numerous members of his family involved in Costello’s gang. He trains as a state trooper and due to his family’s criminal ties, is turned into an undercover agent by Captain Queenan (Martin Sheen) and Staff Sergeant Dignam (Mark Wahlberg), his role to infiltrate Costello’s gang. Soon suspicions are raised and the net begins to close in on everyone involved, with dire consequences.
Personally, I think this is one of the best gangster films I’ve ever seen, if not the best. It’s everything you’d expect and more from a film in this genre, and I’m not sure anyone other than Scorcese could pull off a crime thriller that manages to feature such prominent Celtic music with such flair. It has a whip smart, often funny script that features some cracking one liners and quips, especially from Mark Wahlberg’s Dignam. Yes it is a little crude and some of the dialogue could be considered as offensive by some, but to me this just makes it more realistic as you can’t exactly expect gangsters and police to talk politely. Of course the script is brought to life by a truly phenomenal cast, and arguably one of the best ensembles in a gangster film in terms of talent. Leonardo DiCaprio is no longer the fresh faced youngster he was in the days of Titanic, although he puts in a terrific performance as Billy. This is also one of the few films I’ve seen of Matt Damon’s where he doesn’t play a nice guy, and he really fits this surprisingly well. But it’s Nicholson who steals the show as Costello and he definitely gets the biggest share of the witty script, bringing some light humour to an otherwise menacing criminal figure. You can’t keep your eyes off him whenever he’s on screen, and I don’t believe anyone else could pull this off without seeming like an over the top caricature.
However it isn’t perfect. The relationship between police psychiatrist Madolyn Madden (Vera Farmiga) and both Sullivan and Costigan is a little unnecessary and not important to the main plot, but fortunately the performances from all involved mean this isn’t a major issue. And again, the film is rather long but fortunately the tense scenes and great acting, alongside a few well placed action scenes, mean it never feels too drawn out.
This is a shining example of how to do a gangster film, and one I’d wholeheartedly recommend. It’s an intelligent, performance driven masterpiece and entirely deserving of it’s Best Picture Academy Award win.
TheDefunctDiva (304 KP) rated The Cooler (2003) in Movies
Sep 26, 2017
C is for Cash Money
Contains spoilers, click to show
As a tribute to Sue Grafton, I shall use the alphabet to inspire catchy titles. Because I am a nerd like that. Caution, ye land lubbers: ahead be spoilers. Proceed at your own risk.
The Cooler is a tale of contrast: good luck is pitted against bad luck, and old is seen in stark contrast to new. We are immediately introduced to Bernie Lootz, an individual with such phenomenally bad luck that it is actually contagious. Bound by obligation and a misguided sense of loyalty to his boss, Shelly Kaplow, Bernie works at the Golden Shangri-La Casino as a “cooler.” His presence at a table can cause a winning streak to instantaneously turn sour. The unfortunate Bernie is no stranger to pain: his boss and supposed friend, Shelly, once shattered his kneecap with a baseball bat. Bernie also has great difficulty with his other personal relationships. His estranged son, with whom Bernie hopes for reconciliation, immediately swindles the hapless fellow.
To make matters worse for Bernie, who wants nothing more than to be done with Vegas, Shelly is battling his own brand of misfortune. New management is suggesting a re-haul of the establishment he helmed for 16 years. Shelly argues for the casino to limp along as it is, and maintain the traditions originated by the mafia. He desperately and unfairly clings to Bernie, who remains an unwilling symbol of these old practices.
William H. Macy breaks my heart in every movie that I've seen him in. This film, where Macy expertly depicts the "unluckiest man in Vegas," offers no exception to that rule. There is a familiar vulnerability he lends to each facial expression that simultaneously earns my respect and pity. Bernie Lootz is a human being with a seemingly supernatural ability to receive, harness, and project bad luck. This requires some suspension of disbelief on the part of the viewer, and Macy is one of the few actors capable of making such a concept convincing.
Maria Bello is cast alongside Macy as a waitress and Bernie's love interest, Natalie. As often mentioned in the script, she seems entirely out of Bernie's league. And yet, the skilled actors created a romance which seemed entirely natural after the first evening's awkwardness. And as the two progress to love, Lootz's luck begins to change, as it does for the Casino patrons he comes into contact with. His presence becomes a blessing instead of a curse, putting his unwanted career path and his lady love in danger.
The man pulling the strings (or breaking the kneecaps, as it were) at the Golden Shangri-La is no other than Jack Donaghy...er, Alec Baldwin. Baldwin's performance rightfully garnered several awards and nominations, including an Oscar nod. Shelly is handsome, old school, and at times, utterly terrifying. He is resistant to change, often violently so. He cannot reconcile his ideals with the Vegas brand of commercialized progress, and he takes out his frustrations on friend and foe alike.
This film also featured a small but powerful role played by Paul Sorvino. Buddy Stafford has the voice of an angel, but a demon of a drug habit, and he provided an excellent foil for Shelly's beliefs in maintaining tradition.
The Cooler is too gritty a film to call "cute," but that's currently the only word coming to mind. It has something for the mob-lover and the romantic in everyone. And you should watch this little love story lest I should make things uncomfortable for you in the future, you know what I'm sayin'???
The Cooler is a tale of contrast: good luck is pitted against bad luck, and old is seen in stark contrast to new. We are immediately introduced to Bernie Lootz, an individual with such phenomenally bad luck that it is actually contagious. Bound by obligation and a misguided sense of loyalty to his boss, Shelly Kaplow, Bernie works at the Golden Shangri-La Casino as a “cooler.” His presence at a table can cause a winning streak to instantaneously turn sour. The unfortunate Bernie is no stranger to pain: his boss and supposed friend, Shelly, once shattered his kneecap with a baseball bat. Bernie also has great difficulty with his other personal relationships. His estranged son, with whom Bernie hopes for reconciliation, immediately swindles the hapless fellow.
To make matters worse for Bernie, who wants nothing more than to be done with Vegas, Shelly is battling his own brand of misfortune. New management is suggesting a re-haul of the establishment he helmed for 16 years. Shelly argues for the casino to limp along as it is, and maintain the traditions originated by the mafia. He desperately and unfairly clings to Bernie, who remains an unwilling symbol of these old practices.
William H. Macy breaks my heart in every movie that I've seen him in. This film, where Macy expertly depicts the "unluckiest man in Vegas," offers no exception to that rule. There is a familiar vulnerability he lends to each facial expression that simultaneously earns my respect and pity. Bernie Lootz is a human being with a seemingly supernatural ability to receive, harness, and project bad luck. This requires some suspension of disbelief on the part of the viewer, and Macy is one of the few actors capable of making such a concept convincing.
Maria Bello is cast alongside Macy as a waitress and Bernie's love interest, Natalie. As often mentioned in the script, she seems entirely out of Bernie's league. And yet, the skilled actors created a romance which seemed entirely natural after the first evening's awkwardness. And as the two progress to love, Lootz's luck begins to change, as it does for the Casino patrons he comes into contact with. His presence becomes a blessing instead of a curse, putting his unwanted career path and his lady love in danger.
The man pulling the strings (or breaking the kneecaps, as it were) at the Golden Shangri-La is no other than Jack Donaghy...er, Alec Baldwin. Baldwin's performance rightfully garnered several awards and nominations, including an Oscar nod. Shelly is handsome, old school, and at times, utterly terrifying. He is resistant to change, often violently so. He cannot reconcile his ideals with the Vegas brand of commercialized progress, and he takes out his frustrations on friend and foe alike.
This film also featured a small but powerful role played by Paul Sorvino. Buddy Stafford has the voice of an angel, but a demon of a drug habit, and he provided an excellent foil for Shelly's beliefs in maintaining tradition.
The Cooler is too gritty a film to call "cute," but that's currently the only word coming to mind. It has something for the mob-lover and the romantic in everyone. And you should watch this little love story lest I should make things uncomfortable for you in the future, you know what I'm sayin'???
Bob Mann (459 KP) rated Mission: Impossible - Fallout (2018) in Movies
Sep 28, 2021
Hunt on the edge… again.
2015’s “MI: Rogue Nation” was one of my favourite films of that year, so of all the summer blockbusters this was the one I was most looking forward to. Was I delighted? It’s a slightly qualified “YES!”.
The film neatly follows on from Rogue Nation with arch terrorist-in-need-of-a-razor Solomon Lane (Sean Harris) being extraordinarily renditioned (probably not a valid phrase!) between multiple countries who want to torture/punish him. But his followers – “The Apostles” – are still active and on the trail of plutonium that could devestate key sites, with religious centres being the top of the target list. Since Ethan Hunt (Tom Cruise) originally caught Lane, IMF Director Hunley (Alec Baldwin) despatches Hunt to intercept the plutonium.
But CIA director Erica Sloan (Angela Bassett) has no faith in the IMF, or trust that the organisation has not been infiltrated, and she insists that her ‘heavy’ August Walker (Henry Cavill) goes along for the ride. But they are not the only parties in play, for Isla Faust (Rebecca Ferguson) is also involved. But who is she working for?
What makes these films a cut above your average action adventure is the stunt work, with the knowledge that Cruise is at the centre of the action. In “Skyscraper” you KNOW Dwayne Johnson is standing on the ‘edge’ in front of a big green screen. Similarly here you KNOW Cruise is standing on the edge of the Tate Modern tower – probably without a safety line – as the camera goes 360 degrees around him. This makes all the difference to the adrenalin count.
There are some outstanding set pieces in the film, with extraordinarily spectacular shots from a ‘halo jump’ and a dramatic helicopter finale. But it is some of the smaller stuff that really impresses: a dramatic edge-of-the-seat car and motorbike chase through central Paris is one of the most impressive and terrifying things I’ve seen on film for many years; and Cruise’s literally bone-crunching run through London is also extremely exciting, with Simon Pegg adding good humour in his regular role of Benji. By the way, series regulars Ving Rhames, as Luther, and Michelle Monaghan, as Hunt’s ex-wife Julia, also make welcome returns but Jeremy Renner is missing this time.
Tom Cruise at 56 (he’s just 15 months younger than I am, damn it!) will eventually meet a Roger Moore-like Bond cliff when his Hunt role is no longer credible. But he’s not there yet! Rebecca Ferguson is again outstanding as Faust and as a newcomer in a similar role Vanessa Kirby (memorable as Princess Margaret in “The Crown”) impresses as the “White Widow” – someone with a familial link to a villain from the past!
Unusually, for a film series which has traditionally been kept fresh by changing directors and composers at each turn, Christopher McQuarrie (“Edge of Tomorrow“, “The Mummy“) returns following “Rogue Nation“, and he also writes the screenplay. The composing baton is handed over this time though to Lorne Balfe (“Churchill“, “Terminator: Genisys“) and for me this was a bit of a step down from the “Rogue Nation” soundtrack by Joe Kraemer which I really enjoyed.
Is it sufficiently fresh though? Let’s be clear here, I was enormously entertained throughout, and this should be near the top of your summer watch list. But it did ultimately feel at times a little like a light retread of “Rogue Nation“. Some of the stunts – notably the Paris and London scenes as above – were a step up for me, but there are some annoyances in McQuarrie’s script (see the spoiler section below the trailer), so for me the rating plateaus at the same as “Rogue Nation“.
The film neatly follows on from Rogue Nation with arch terrorist-in-need-of-a-razor Solomon Lane (Sean Harris) being extraordinarily renditioned (probably not a valid phrase!) between multiple countries who want to torture/punish him. But his followers – “The Apostles” – are still active and on the trail of plutonium that could devestate key sites, with religious centres being the top of the target list. Since Ethan Hunt (Tom Cruise) originally caught Lane, IMF Director Hunley (Alec Baldwin) despatches Hunt to intercept the plutonium.
But CIA director Erica Sloan (Angela Bassett) has no faith in the IMF, or trust that the organisation has not been infiltrated, and she insists that her ‘heavy’ August Walker (Henry Cavill) goes along for the ride. But they are not the only parties in play, for Isla Faust (Rebecca Ferguson) is also involved. But who is she working for?
What makes these films a cut above your average action adventure is the stunt work, with the knowledge that Cruise is at the centre of the action. In “Skyscraper” you KNOW Dwayne Johnson is standing on the ‘edge’ in front of a big green screen. Similarly here you KNOW Cruise is standing on the edge of the Tate Modern tower – probably without a safety line – as the camera goes 360 degrees around him. This makes all the difference to the adrenalin count.
There are some outstanding set pieces in the film, with extraordinarily spectacular shots from a ‘halo jump’ and a dramatic helicopter finale. But it is some of the smaller stuff that really impresses: a dramatic edge-of-the-seat car and motorbike chase through central Paris is one of the most impressive and terrifying things I’ve seen on film for many years; and Cruise’s literally bone-crunching run through London is also extremely exciting, with Simon Pegg adding good humour in his regular role of Benji. By the way, series regulars Ving Rhames, as Luther, and Michelle Monaghan, as Hunt’s ex-wife Julia, also make welcome returns but Jeremy Renner is missing this time.
Tom Cruise at 56 (he’s just 15 months younger than I am, damn it!) will eventually meet a Roger Moore-like Bond cliff when his Hunt role is no longer credible. But he’s not there yet! Rebecca Ferguson is again outstanding as Faust and as a newcomer in a similar role Vanessa Kirby (memorable as Princess Margaret in “The Crown”) impresses as the “White Widow” – someone with a familial link to a villain from the past!
Unusually, for a film series which has traditionally been kept fresh by changing directors and composers at each turn, Christopher McQuarrie (“Edge of Tomorrow“, “The Mummy“) returns following “Rogue Nation“, and he also writes the screenplay. The composing baton is handed over this time though to Lorne Balfe (“Churchill“, “Terminator: Genisys“) and for me this was a bit of a step down from the “Rogue Nation” soundtrack by Joe Kraemer which I really enjoyed.
Is it sufficiently fresh though? Let’s be clear here, I was enormously entertained throughout, and this should be near the top of your summer watch list. But it did ultimately feel at times a little like a light retread of “Rogue Nation“. Some of the stunts – notably the Paris and London scenes as above – were a step up for me, but there are some annoyances in McQuarrie’s script (see the spoiler section below the trailer), so for me the rating plateaus at the same as “Rogue Nation“.
Gareth von Kallenbach (965 KP) rated Motherless Brooklyn (2019) in Movies
Oct 31, 2019
With all the recent big action blockbuster movie releases recently, there is a genre that has been overlooked for some time, a good detective story. Most movies that take place in the 50’s tend to focus more on mob related backdrops and ruthless hits to draw in audiences. Motherless Brooklyn written, directed and starring Edward Norton looks to tell a story that harkens back to the day where gumshoes spoke to key individuals and followed the clues to get to the bottom of the case. This is long before forensics was a thing, and there were no fancy computer databases or DNA matching to utilize to narrow down the suspect pool. This was when it took the skills and abilities of the individual themselves to follow the clues and piece them together like a puzzle to solve each and every case.
Lionel Essrog (Edward Norton) is a private detective who works at a small P.I. firm trying to eek out a living in the streets of New York back in the late 50’s. Lionel along with his fellow gumshoes grew up in a Catholic orphanage that cemented the bond between them all as both friends and family. Lionel suffers from Tourette’s syndrome causing him to tick and burst out in unusual statements which only gets worse as he gets nervous or excited, however he also possesses a photographic memory, able to recall specific conversations and repeat them verbatim when asked.
On what begins as a seemingly routine job, things quickly turn deadly when Frank Minna (Bruce Willis) the lead private investigator (and owner) of the firm is gunned down in an alley. With very little information to go on and forced to confront each suspect while attempting to maintain his composure, Lionel must use his smarts and the help of his friends to piece together what Frank was involved in and unravel the mystery before anyone else gets hurt. His investigation will take him throughout the streets of New York at a time where racial tensions were bubbling over, and the lure of power and money was more than folks could ignore.
Edward Norton does an outstanding job with his portrayal of an average Joe who must overcome a debilitating mental condition to find those who killed his friend. He does such a believable job with his portrayal of Tourette’s that at times it’s hard to believe that he doesn’t suffer from it in his real life. Much the same way Jack Nicholson brought Obsessive-Compulsive Disorder into the public conscious in As Good as it Gets, Norton portrays his Tourette’s in a somewhat comical, but still respectable manner. In a way, his condition disappears into the background allowing his skills and smarts to come across first.
Norton is joined by a star-studded cast featuring Bruce Willis as his best friend Frank Minna, a seemingly well-intentioned man who has stood up and protected Lionel since child-hood. Alec Baldwin portrays a powerful and ruthless city official, looking to extend his power in the city while making a small fortune in the process. Willem DaFoe, fresh off of another Oscar worthy performance in The Lighthouse, once again brings his acting pedigree to the mix and last, but certainly not least Gugu Mbatha-Raw brings a smart and extremely strong female character with what should be an Oscar winning performance.
Motherless Brooklyn is a long movie (chalking in a bit over two and a half hours) and does take some time to gather its footing. This is a detective movie after all, and much of the action takes place speaking with suspects and researching in the library. It certainly brings an authentic feel to detective work in the 50’s and is a surprisingly refreshing detour from the onslaught of action and superhero movies which have dominated the screens in 2019. New York in the 50’s comes to life with the incredible costumes, vehicles and just overall feel of what the city must have been like back in the day. It’s a testament to how much wardrobe and attention to detail can take the viewers back in time. For those who lack the sort of patience that this movie will certainly require, it may seem a bit overwhelming to consider, however once the viewers settle in, they are in for a treat as they join Lionel in piecing the puzzle together, to sort out what led to the death of his friend.
Motherless Brooklyn was exactly the type of movie I was hoping for, a gritty detective movie that isn’t overly concerned with outrageous plots or frantic gun play. It’s a movie about gathering the clues, investigating the leads, and seeing where it takes you. The star-studded cast is outstanding, and I certainly cannot over emphasize the pivotal role that Norton brings to the screen. If old crime novels and private investigator stories are your cup of tea, you’ll find that Motherless Brooklyn checks off all the boxes. In a sea of superhero movies and high action thrillers, it’s refreshing to come across a film that brings some realism back to the cinema.
Lionel Essrog (Edward Norton) is a private detective who works at a small P.I. firm trying to eek out a living in the streets of New York back in the late 50’s. Lionel along with his fellow gumshoes grew up in a Catholic orphanage that cemented the bond between them all as both friends and family. Lionel suffers from Tourette’s syndrome causing him to tick and burst out in unusual statements which only gets worse as he gets nervous or excited, however he also possesses a photographic memory, able to recall specific conversations and repeat them verbatim when asked.
On what begins as a seemingly routine job, things quickly turn deadly when Frank Minna (Bruce Willis) the lead private investigator (and owner) of the firm is gunned down in an alley. With very little information to go on and forced to confront each suspect while attempting to maintain his composure, Lionel must use his smarts and the help of his friends to piece together what Frank was involved in and unravel the mystery before anyone else gets hurt. His investigation will take him throughout the streets of New York at a time where racial tensions were bubbling over, and the lure of power and money was more than folks could ignore.
Edward Norton does an outstanding job with his portrayal of an average Joe who must overcome a debilitating mental condition to find those who killed his friend. He does such a believable job with his portrayal of Tourette’s that at times it’s hard to believe that he doesn’t suffer from it in his real life. Much the same way Jack Nicholson brought Obsessive-Compulsive Disorder into the public conscious in As Good as it Gets, Norton portrays his Tourette’s in a somewhat comical, but still respectable manner. In a way, his condition disappears into the background allowing his skills and smarts to come across first.
Norton is joined by a star-studded cast featuring Bruce Willis as his best friend Frank Minna, a seemingly well-intentioned man who has stood up and protected Lionel since child-hood. Alec Baldwin portrays a powerful and ruthless city official, looking to extend his power in the city while making a small fortune in the process. Willem DaFoe, fresh off of another Oscar worthy performance in The Lighthouse, once again brings his acting pedigree to the mix and last, but certainly not least Gugu Mbatha-Raw brings a smart and extremely strong female character with what should be an Oscar winning performance.
Motherless Brooklyn is a long movie (chalking in a bit over two and a half hours) and does take some time to gather its footing. This is a detective movie after all, and much of the action takes place speaking with suspects and researching in the library. It certainly brings an authentic feel to detective work in the 50’s and is a surprisingly refreshing detour from the onslaught of action and superhero movies which have dominated the screens in 2019. New York in the 50’s comes to life with the incredible costumes, vehicles and just overall feel of what the city must have been like back in the day. It’s a testament to how much wardrobe and attention to detail can take the viewers back in time. For those who lack the sort of patience that this movie will certainly require, it may seem a bit overwhelming to consider, however once the viewers settle in, they are in for a treat as they join Lionel in piecing the puzzle together, to sort out what led to the death of his friend.
Motherless Brooklyn was exactly the type of movie I was hoping for, a gritty detective movie that isn’t overly concerned with outrageous plots or frantic gun play. It’s a movie about gathering the clues, investigating the leads, and seeing where it takes you. The star-studded cast is outstanding, and I certainly cannot over emphasize the pivotal role that Norton brings to the screen. If old crime novels and private investigator stories are your cup of tea, you’ll find that Motherless Brooklyn checks off all the boxes. In a sea of superhero movies and high action thrillers, it’s refreshing to come across a film that brings some realism back to the cinema.