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The creator (2023)
7.3
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Amid a future war between human race and the forces of artificial intelligence joshua a hardened ex...
Sarah (7798 KP) rated I, Tonya (2017) in Movies
Dec 30, 2018
Great performances
I missed out on watching this when it was out at the cinema and I’m really disappointed I did, especially as it is actually quite good.
I didn’t know anything about true story about Tonya Harding, so for me this film was a real eye opener. It’s a fascinating story and the film features some great performances from both Margot Robbie and Sebastian Stan. However it’s Alison Janney that steals the entire film as the mother from hell, she’s horrible yet absolutely hilarious too. The way this film unfolds using a documentary style storytelling really works and makes for such an entertaining film. The film drags a little during certain parts, and it’s a little ambiguous as to whether you should feel truly sorry for Tonya or not, especially with the conflicting stories between her and Jeff. But it’s the brilliant cast and the unique story telling theta really make this film worth watching.
I didn’t know anything about true story about Tonya Harding, so for me this film was a real eye opener. It’s a fascinating story and the film features some great performances from both Margot Robbie and Sebastian Stan. However it’s Alison Janney that steals the entire film as the mother from hell, she’s horrible yet absolutely hilarious too. The way this film unfolds using a documentary style storytelling really works and makes for such an entertaining film. The film drags a little during certain parts, and it’s a little ambiguous as to whether you should feel truly sorry for Tonya or not, especially with the conflicting stories between her and Jeff. But it’s the brilliant cast and the unique story telling theta really make this film worth watching.
Disappointing
The trailer for this made it out to be a rather tense and creepy horror, however I'm afraid to say that it really falls short.
Octavia Spencer is the best thing about this film. She really knows how to play a creepy stalker type woman well - she's definitely got those crazy eyes! The rest of the cast are decent but sadly underused - Luke Evans is wasted and there's a blink and you'll miss it appearance from Alison Janney. The younger cast are surprisingly alright but are let down by the film in general.
The main problem with this film is it's severely lacking in creeps and horror until the last 20 minutes or so. You spend well over an hour waiting for what you'd expected all along. The film is bearable enough that you don't get bored, you just notice that not very much happens and then it's all over in one go. The finale is good but is also rather predictable and has some very bizarre and nonsensical actions from Ma herself. There's also a very small number of deaths in this which is rather odd considering it's been classed as a horror.
Overall this was watchable but ultimately disappointing and quite forgettable.
Octavia Spencer is the best thing about this film. She really knows how to play a creepy stalker type woman well - she's definitely got those crazy eyes! The rest of the cast are decent but sadly underused - Luke Evans is wasted and there's a blink and you'll miss it appearance from Alison Janney. The younger cast are surprisingly alright but are let down by the film in general.
The main problem with this film is it's severely lacking in creeps and horror until the last 20 minutes or so. You spend well over an hour waiting for what you'd expected all along. The film is bearable enough that you don't get bored, you just notice that not very much happens and then it's all over in one go. The finale is good but is also rather predictable and has some very bizarre and nonsensical actions from Ma herself. There's also a very small number of deaths in this which is rather odd considering it's been classed as a horror.
Overall this was watchable but ultimately disappointing and quite forgettable.
Sarah (7798 KP) rated Bombshell (2019) in Movies
Sep 12, 2020
Powerful viewing
I'd really wanted to see this at the cinema but sadly never got round to it as it had such a limited run at my local, and to be honest seeing it now I'm a little frustrated I never got the chance.
This is a powerful film in more than one way - powerful story, powering acting and powerful in it's way of highlighting a very real problem. The acting is tremendous by everyone involved, even those with smaller bit parts like Kate McKinnon, Alison Janney etc, they all shone with whatever they had to work with. The three leads, Theron and Robbie especially, were brilliant. I'll admit it took me a while to get used to Theron's prosthetics and voice, and to be frank whilst I rate Nicole Kidman as an actress, her botox and far too smooth skin with an inability to emote really lets her down. And then there's John Lithgow too, he's faultless and nails that slimy yet charming and likeable character that Ailes is portrayed as being.
The main thing that let this down was the beginning. The direct address to camera/breaking 4th wall might have worked in The Big Short for writer Charles Randolph, it really didn't work here. It was no doubt meant to lighten the mood and provide some comic relief as it did in TBS, but here it just felt inappropriate. This is a serious issue and a serious story, and shouldn't be made light of.
Once it gets over this initial blip, this film really gets going. I was gripped by this fascinating story that I didnt know a huge amount about and this was helped by the decent pace and under 2 hour runtime - have filmmakers finally realised a film doesn't have to be over 2 hours to be good?!
Whilst 'enjoyed' isn't probably the right word considering the subject matter, this is a fantastic and powerful film. I found it gave me a massive sense of empowerment and if it hadn't have been for the initial blip in storytelling device, I wouldve rated this higher.
This is a powerful film in more than one way - powerful story, powering acting and powerful in it's way of highlighting a very real problem. The acting is tremendous by everyone involved, even those with smaller bit parts like Kate McKinnon, Alison Janney etc, they all shone with whatever they had to work with. The three leads, Theron and Robbie especially, were brilliant. I'll admit it took me a while to get used to Theron's prosthetics and voice, and to be frank whilst I rate Nicole Kidman as an actress, her botox and far too smooth skin with an inability to emote really lets her down. And then there's John Lithgow too, he's faultless and nails that slimy yet charming and likeable character that Ailes is portrayed as being.
The main thing that let this down was the beginning. The direct address to camera/breaking 4th wall might have worked in The Big Short for writer Charles Randolph, it really didn't work here. It was no doubt meant to lighten the mood and provide some comic relief as it did in TBS, but here it just felt inappropriate. This is a serious issue and a serious story, and shouldn't be made light of.
Once it gets over this initial blip, this film really gets going. I was gripped by this fascinating story that I didnt know a huge amount about and this was helped by the decent pace and under 2 hour runtime - have filmmakers finally realised a film doesn't have to be over 2 hours to be good?!
Whilst 'enjoyed' isn't probably the right word considering the subject matter, this is a fantastic and powerful film. I found it gave me a massive sense of empowerment and if it hadn't have been for the initial blip in storytelling device, I wouldve rated this higher.
Bob Mann (459 KP) rated Lady Bird (2017) in Movies
Sep 29, 2021
“What if this is the best version”.
When did you grow up? I am now 57, and I’m still “working towards”! I remember distinctly though at the age of 16 thinking “I’ve got there”. And then again at 18. And then again at 21. And then again at 25…. There is something sweet about the certainty of youth that only life’s ultimate experiences can roughen the edges of.
“Lady Bird”, the directorial debut of Greta Gerwig, features one such teen who thinks she knows it all. Looking and acting for all the world like a 15 year old (something that Margot Robbie really can’t pull off in “I, Tonya”) Saoirse Ronan plays Christine McPherson who has the given name (“I gave the name to myself”) of ‘Lady Bird’. She is struggling with a lot of issues: an unreasonable and overbearing (parents: read ‘perfectly reasonably but firm’) mother (Laurie Metcalf, “Roseanne”); the issues of puberty and young love; the constrictions of a Catholic school she despises; and her inability to perform to the grades she needs to get into a college of her choice. That choice being on the East coast as far away from the backwater of Sacremento (“the mid-west of California” – LoL) as she can get.
Love comes in the form of two serial male fixations: the gorgeous and artistic Danny (Lucas Hedges, “Three Billboards Outside Ebbing, Missouri”, “Manchester By The Sea”) and the aloof and enigmatic Kyle (Timothée Chalamet, “Call Me By Your Name”).
This is a near perfect coming of age film. The plot, while fairly superficial and covering ground well-trodden before, fully engages you and makes the running time just fly by. And there is just so much talent on show. The script by Gerwig is chocker-block full of great and memorable lines; Ronan is pitch-perfect as the irascible and cock-sure teen; Tracy Letts (“The Post“) is magnificent in the less showy role as the “good cop” dad, struggling invisibly with his own demons; and Metcalf gives an Oscar-nominated performance that really should give Alison Janney a run for her money… a drive away from an airport conveys just perfectly every college-age parent’s emotional low-point.
Where perhaps the film overplays its hand a bit is in the “wrong side of the tracks” line. The household while struggling is by no means trailer-park poor (compare and contrast with “I, Tonya”): perhaps this is the depths of financial desperation found in Sacremento? But I doubt it… there still seems to be money available for fancy cowgirl outfits.
Which leads me to the rating, which seems to have been a common rant in the last few weeks. I would have thought that there was nothing like this film to turn the mirror of reasonableness on a young teen, perhaps helping them to treat their parents better, work harder for college or make better choices. Yet it has a UK 15 certificate. And for what? There is a full frontal male photo-spread in “Playgirl” (I want to say “it’s a penis, get over it”, but if forced I would have frankly just snipped the 50 milliseconds out to get the lower rating). And there are a few (only a few) F- and C- words. I have the same problem here as with “Phantom Thread” – here is a high-class film that a young teen audience would absolutely love to see. I think the BBFC have got it wrong again here.
I cannot recommend this film enough: a tale of teenage life love and resolution that is hard to beat. Possibly one of the best coming of age tales I’ve ever seen. On the basis that it looks like I will never get to see “Call Me By Your Name” – the only major one I’ve missed – before this Sunday’s Oscar ceremony, what a great way to round off my Oscar-viewing season.
“Lady Bird”, the directorial debut of Greta Gerwig, features one such teen who thinks she knows it all. Looking and acting for all the world like a 15 year old (something that Margot Robbie really can’t pull off in “I, Tonya”) Saoirse Ronan plays Christine McPherson who has the given name (“I gave the name to myself”) of ‘Lady Bird’. She is struggling with a lot of issues: an unreasonable and overbearing (parents: read ‘perfectly reasonably but firm’) mother (Laurie Metcalf, “Roseanne”); the issues of puberty and young love; the constrictions of a Catholic school she despises; and her inability to perform to the grades she needs to get into a college of her choice. That choice being on the East coast as far away from the backwater of Sacremento (“the mid-west of California” – LoL) as she can get.
Love comes in the form of two serial male fixations: the gorgeous and artistic Danny (Lucas Hedges, “Three Billboards Outside Ebbing, Missouri”, “Manchester By The Sea”) and the aloof and enigmatic Kyle (Timothée Chalamet, “Call Me By Your Name”).
This is a near perfect coming of age film. The plot, while fairly superficial and covering ground well-trodden before, fully engages you and makes the running time just fly by. And there is just so much talent on show. The script by Gerwig is chocker-block full of great and memorable lines; Ronan is pitch-perfect as the irascible and cock-sure teen; Tracy Letts (“The Post“) is magnificent in the less showy role as the “good cop” dad, struggling invisibly with his own demons; and Metcalf gives an Oscar-nominated performance that really should give Alison Janney a run for her money… a drive away from an airport conveys just perfectly every college-age parent’s emotional low-point.
Where perhaps the film overplays its hand a bit is in the “wrong side of the tracks” line. The household while struggling is by no means trailer-park poor (compare and contrast with “I, Tonya”): perhaps this is the depths of financial desperation found in Sacremento? But I doubt it… there still seems to be money available for fancy cowgirl outfits.
Which leads me to the rating, which seems to have been a common rant in the last few weeks. I would have thought that there was nothing like this film to turn the mirror of reasonableness on a young teen, perhaps helping them to treat their parents better, work harder for college or make better choices. Yet it has a UK 15 certificate. And for what? There is a full frontal male photo-spread in “Playgirl” (I want to say “it’s a penis, get over it”, but if forced I would have frankly just snipped the 50 milliseconds out to get the lower rating). And there are a few (only a few) F- and C- words. I have the same problem here as with “Phantom Thread” – here is a high-class film that a young teen audience would absolutely love to see. I think the BBFC have got it wrong again here.
I cannot recommend this film enough: a tale of teenage life love and resolution that is hard to beat. Possibly one of the best coming of age tales I’ve ever seen. On the basis that it looks like I will never get to see “Call Me By Your Name” – the only major one I’ve missed – before this Sunday’s Oscar ceremony, what a great way to round off my Oscar-viewing season.
Andy K (10821 KP) Dec 30, 2018