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Bob Mann (459 KP) rated Independence Day: Resurgence (2016) in Movies
Sep 29, 2021
Why Will Smith is a wise, wise man.
I’m catching up on a few of the big films I missed during 2016. But Roland Emmerich has a lot to answer for with this one. Twenty years after Independence Day smashed the summer box office of 1996, the aliens are back: bigger and badder than ever. Steven Hiller (Will Smith) is no longer on the scene but, to give Emmerich a little credit, he has gathered an impressive array of the original stars to return led by Hiller’s wife Jasmine (Vivica Fox), President Whitmore (Bill Pullman), Dr Okun (Brent Spiner), David Levinson (Jeff Goldblum) and his dad (Judd Hirsch). The great Robert Loggia even turns up, who played the original General Grey, looking like he is about to expire (which unfortunately he did late last year, and the film is in memorial to him). All of them have weathered over the years apart from Judd Hirsch who must have a picture in his attic.
Playing the new generation (Hiller’s young son Dylan and the president’s daughter Patricia) are Jessie Usher and the comely Maika Monroe respectively, the latter having the pout of a young Jessica Alba and showing promise. Rounding off the young ‘uns, and playing an enormously irritating hunk/hero and his sidekick buddy are Jake (Liam Hemsworth – yes, younger brother of Chris) and Floyd (Nicolas Wright). And with the obvious needs of summer blockbusters to appeal to the ravenous Chinese market there is also Shanghai-born Angelababy as a young hotshot pilot and Chin Han as her uncle, moonbase commander Commander Jiang.
It’s hard to know where to start with criticism of this film. It’s like you’ve caught someone desecrating the grave of a dearly departed relative. The plot is ludicrous…. Uh oh…here comes another One Mann’s Movies Showcase Theatre….
The scene: onboard the alien craft high above central Asia
DRONE K’FAALL: “The use of the anti-gravity weapon worked a treat your Majesty. We have ripped up Shanghai and dumped in from a great height on London! Take that Queenie! All hail our weapons superiority! I take it we should just ‘rinse and repeat’ around the world to wipe them all out? ”
QUEEN ALIEN BEE: “No K’Fall. Let’s land in the Atlantic and then go fight them one-on-one with our little ships in the desert near Area 51.”
DRONE K’FALL: “B-b-b-but your Majesty, with our gravity weapon we could eliminate all threat, drill out the earth’s core and find what we came here for in perfect safety!”.
QUEEN ALIEN BEE: “No… that’s just what they’ll be expecting us to do…”
I thought the Oscar for the dumbest aliens of the year was a shoe-in for the ones who chose a similar tactic in “The 5th Wave” – but no… we have another contender for the crown. This ridiculous London-based CGI sequence – a virtual re-shoot of the ridiculous CGI sequence in Emmerich’s “2012” where John Cusack is fleeing by plane a collapsing Los Angeles – is mitigated only by Goldblum’s witty comment about them “Always going for the landmarks” – the best line in the film.
Elsewhere, the story and screenplay – by an army of writers (never a good sign) – is risible and an insult to intelligence, alien or otherwise. The ludicrous plot points go on and on…
Why on earth is the single landed alien craft from 1996 owned by an African warlord? If mankind have ‘benefited’ so much from the alien technology that must surely have been through the UN-dismantling of that ship?
There seems to be no logical connection between the “visions” (stolen from “Close Encounters”) and the alien craft. The visions might have well have been of the alien’s last shopping list (“six cans of Kraag beans; one bottle of Vollufi ale; … “);
The alien craft is big enough to span the WHOLE Atlantic when it lands, but – who would believe it? – comes to a stop with its edge in Washington JUST ENOUGH to dip the White House flag to a jaunty angle. #cringe;
The alien ship – apparently open to the elements – allows our heroic hunks to wander around without spacesuits;
Breathless… or not. Jessie T Usher and Liam Hemsworth (foreground) not dying of asphyxiation or cold.
At one point it looked like our curvaceous heroine was going to defeat the alien queen in good ol’ Wild West fashion armed only with a handgun (but no, my head could come out of my hands again);
And don’t even get me started on the opening “excitement” about propping up a collapsing supergun on the moon with a spaceship. Gerry Anderson would be spinning in his grave.
The dialogue is little better. The original “Independence Day” was probably most famous for two scenes: the impressive destruction of the White House and Bill Paxton’s ludicrously corny “We will not go quietly into the night” speech. Here trying to go one better we have not just one version of this but two with William Fichner’s General Adams chipping one in from the rough before Paxton delivers an impromptu hanger speech that is toe-curlingly excruciating.
Much of the acting is of the “I really don’t want to be here but it’s good for the pension” variety with Paxton and Goldblum going through the motions and Charlotte Gainsborough being horribly miscast as a French anthropologist running around the world on the trail of Pokemon Go characters… or symbols… or something. Only Brent Spiner and Judd Hirsch really get into their stride with likeably over-the-top performances.
Goldblum and Charlotte Gainsborough. A less likely historic romantic attachment its difficult to imagine.
If this was a standalone story it might scrape a double-Fad… but as it so horrendously sullies a classic movie experience it incurs my cinematic wrath. It might have made Roland Emmer-richer (sic)…. but my recommendation would be to get a big bag of popcorn, the original 1996 movie on DVD and enjoy. Avoid, avoid, avoid.
Playing the new generation (Hiller’s young son Dylan and the president’s daughter Patricia) are Jessie Usher and the comely Maika Monroe respectively, the latter having the pout of a young Jessica Alba and showing promise. Rounding off the young ‘uns, and playing an enormously irritating hunk/hero and his sidekick buddy are Jake (Liam Hemsworth – yes, younger brother of Chris) and Floyd (Nicolas Wright). And with the obvious needs of summer blockbusters to appeal to the ravenous Chinese market there is also Shanghai-born Angelababy as a young hotshot pilot and Chin Han as her uncle, moonbase commander Commander Jiang.
It’s hard to know where to start with criticism of this film. It’s like you’ve caught someone desecrating the grave of a dearly departed relative. The plot is ludicrous…. Uh oh…here comes another One Mann’s Movies Showcase Theatre….
The scene: onboard the alien craft high above central Asia
DRONE K’FAALL: “The use of the anti-gravity weapon worked a treat your Majesty. We have ripped up Shanghai and dumped in from a great height on London! Take that Queenie! All hail our weapons superiority! I take it we should just ‘rinse and repeat’ around the world to wipe them all out? ”
QUEEN ALIEN BEE: “No K’Fall. Let’s land in the Atlantic and then go fight them one-on-one with our little ships in the desert near Area 51.”
DRONE K’FALL: “B-b-b-but your Majesty, with our gravity weapon we could eliminate all threat, drill out the earth’s core and find what we came here for in perfect safety!”.
QUEEN ALIEN BEE: “No… that’s just what they’ll be expecting us to do…”
I thought the Oscar for the dumbest aliens of the year was a shoe-in for the ones who chose a similar tactic in “The 5th Wave” – but no… we have another contender for the crown. This ridiculous London-based CGI sequence – a virtual re-shoot of the ridiculous CGI sequence in Emmerich’s “2012” where John Cusack is fleeing by plane a collapsing Los Angeles – is mitigated only by Goldblum’s witty comment about them “Always going for the landmarks” – the best line in the film.
Elsewhere, the story and screenplay – by an army of writers (never a good sign) – is risible and an insult to intelligence, alien or otherwise. The ludicrous plot points go on and on…
Why on earth is the single landed alien craft from 1996 owned by an African warlord? If mankind have ‘benefited’ so much from the alien technology that must surely have been through the UN-dismantling of that ship?
There seems to be no logical connection between the “visions” (stolen from “Close Encounters”) and the alien craft. The visions might have well have been of the alien’s last shopping list (“six cans of Kraag beans; one bottle of Vollufi ale; … “);
The alien craft is big enough to span the WHOLE Atlantic when it lands, but – who would believe it? – comes to a stop with its edge in Washington JUST ENOUGH to dip the White House flag to a jaunty angle. #cringe;
The alien ship – apparently open to the elements – allows our heroic hunks to wander around without spacesuits;
Breathless… or not. Jessie T Usher and Liam Hemsworth (foreground) not dying of asphyxiation or cold.
At one point it looked like our curvaceous heroine was going to defeat the alien queen in good ol’ Wild West fashion armed only with a handgun (but no, my head could come out of my hands again);
And don’t even get me started on the opening “excitement” about propping up a collapsing supergun on the moon with a spaceship. Gerry Anderson would be spinning in his grave.
The dialogue is little better. The original “Independence Day” was probably most famous for two scenes: the impressive destruction of the White House and Bill Paxton’s ludicrously corny “We will not go quietly into the night” speech. Here trying to go one better we have not just one version of this but two with William Fichner’s General Adams chipping one in from the rough before Paxton delivers an impromptu hanger speech that is toe-curlingly excruciating.
Much of the acting is of the “I really don’t want to be here but it’s good for the pension” variety with Paxton and Goldblum going through the motions and Charlotte Gainsborough being horribly miscast as a French anthropologist running around the world on the trail of Pokemon Go characters… or symbols… or something. Only Brent Spiner and Judd Hirsch really get into their stride with likeably over-the-top performances.
Goldblum and Charlotte Gainsborough. A less likely historic romantic attachment its difficult to imagine.
If this was a standalone story it might scrape a double-Fad… but as it so horrendously sullies a classic movie experience it incurs my cinematic wrath. It might have made Roland Emmer-richer (sic)…. but my recommendation would be to get a big bag of popcorn, the original 1996 movie on DVD and enjoy. Avoid, avoid, avoid.
Bob Mann (459 KP) rated Harriet (2019) in Movies
Feb 29, 2020
Cynthia Erivo - mesmerising (2 more)
Great ensemble cast.
Truly uplifting story
A Crime has been committed
I'm not talking here about the criminal act of Edward Brodess (Mike Marunde) at the start of the film, tearing up perfectly legal documents that prove that slave 'Minty' (Cynthia Erivo) should be released from servitude. No. I'm talking about the 2020 Academy Awards selection.
This was just about the one and only mainstream film that I didn't get to see before this year's awards, and on catching up with it now I feel positively cross with the Academy. Were they looking for an excuse NOT to pour praise on a black-heavy film? Surely not! And yet here we have a standout performance from Cynthia Erivo, that should have been (imho) a more prominent challenger to Renée Zellweger; together with a superb supporting actor performance by Leslie Odom Jr. as her underground railway "Fat Controller" in Philadelphia.
And don't get me started on how or why Erivo didn't get the Oscar for best song with "Stand Up"! (And as both Erivo and Elton John are British, I'm not being partisan here). But did you HEAR and compare those two songs on the night?
The story is based (many would say 'very loosely based') on the amazing life story of Harriet Tubman, who in the run-up to the American Civil War made it her mission to free slaves. Illegally trapped herself on the Brodess farm in Maryland, 'Minty' plans to flee north leaving behind her husband John Tubman (Zackary Momoh), her father (an excellent Clarke Peters), her mother (Vanessa Bell Calloway) and four of her six siblings. It's a perilous pursuit, since being caught by the posse and their hunting dogs will mean severe beatings if not worse.
Fortunately, Minty has an ally.... God. For since a skull fracture, handed out by Gideon Brodess (Joe Alwyn, on great form), at the age of 13, Minty has had seizures where God has shown her flashes of future events.
"Be Free or Die" are the options. Which way will the dice fall for Minty, now reborn as Harriet, as she embarks on ever more perilous missions?
I just loved this movie. I thought Cynthia Erivo was mesmerising as the woman of great substance (you might say, 'True Brit'). There's not been a single Erivo film yet shown that I haven't been impressed with, with "Bad Times at the El Royale" being a particular favourite.
And what a fabulous ensemble cast! Aside from the folks mentioned above, other key performances come from Vondie Curtis-Hall as the Reverend Green (no, not "in the conservatory, with the lead piping") who delivers some fabulous gospel singing, Janelle Monáe (of "Hidden Figures" fame) as the kindly (but fictional) Marie Buchanon who is a friend in need, and Henry Hunter Hall who we first meet as the tricksy bounty hunter Walter.
Also praiseworthy is the score by Terence Blanchard, which seems to completely fit the mood of the movie, and the slightly blue-washed landscape cinematography of John Toll.
Kasi Lemmons - a lady whose previous work I'm not familiar with - directs with style, and (although I appreciate that the Best Director Oscar category only has five names in it) she must have been disappointed not to have been nominated for this. Lemmons also contributed to the story/script from Gregory Allen Howard ("Remember the Titans").
Why the hate on IMDB for this? The user reviews seem to be full of hateful 1* reviews, complaining of perverting the historical record. I can only conclude that this cohort is composed of a) black people genuinely upset about the portrayal of Tubman (which I can respect) and b) racists who are deadly opposed to the message the film portrays and looking for an excuse to bring it down.
Ignore them! If you change the name of the lead character to a fictional one and ignore the "based on a true story" angle, this is a genuinely uplifting and inspiring film. I was sat on a crowded plane, but I genuinely teared up at the finale (and particularly the very final shot) of this movie. It really spoke to me.
Recommended..... dig it out on a streaming service near you and make your own mind up.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2020/02/29/one-manns-movies-dvd-review-harriet-2019/. Thanks).
This was just about the one and only mainstream film that I didn't get to see before this year's awards, and on catching up with it now I feel positively cross with the Academy. Were they looking for an excuse NOT to pour praise on a black-heavy film? Surely not! And yet here we have a standout performance from Cynthia Erivo, that should have been (imho) a more prominent challenger to Renée Zellweger; together with a superb supporting actor performance by Leslie Odom Jr. as her underground railway "Fat Controller" in Philadelphia.
And don't get me started on how or why Erivo didn't get the Oscar for best song with "Stand Up"! (And as both Erivo and Elton John are British, I'm not being partisan here). But did you HEAR and compare those two songs on the night?
The story is based (many would say 'very loosely based') on the amazing life story of Harriet Tubman, who in the run-up to the American Civil War made it her mission to free slaves. Illegally trapped herself on the Brodess farm in Maryland, 'Minty' plans to flee north leaving behind her husband John Tubman (Zackary Momoh), her father (an excellent Clarke Peters), her mother (Vanessa Bell Calloway) and four of her six siblings. It's a perilous pursuit, since being caught by the posse and their hunting dogs will mean severe beatings if not worse.
Fortunately, Minty has an ally.... God. For since a skull fracture, handed out by Gideon Brodess (Joe Alwyn, on great form), at the age of 13, Minty has had seizures where God has shown her flashes of future events.
"Be Free or Die" are the options. Which way will the dice fall for Minty, now reborn as Harriet, as she embarks on ever more perilous missions?
I just loved this movie. I thought Cynthia Erivo was mesmerising as the woman of great substance (you might say, 'True Brit'). There's not been a single Erivo film yet shown that I haven't been impressed with, with "Bad Times at the El Royale" being a particular favourite.
And what a fabulous ensemble cast! Aside from the folks mentioned above, other key performances come from Vondie Curtis-Hall as the Reverend Green (no, not "in the conservatory, with the lead piping") who delivers some fabulous gospel singing, Janelle Monáe (of "Hidden Figures" fame) as the kindly (but fictional) Marie Buchanon who is a friend in need, and Henry Hunter Hall who we first meet as the tricksy bounty hunter Walter.
Also praiseworthy is the score by Terence Blanchard, which seems to completely fit the mood of the movie, and the slightly blue-washed landscape cinematography of John Toll.
Kasi Lemmons - a lady whose previous work I'm not familiar with - directs with style, and (although I appreciate that the Best Director Oscar category only has five names in it) she must have been disappointed not to have been nominated for this. Lemmons also contributed to the story/script from Gregory Allen Howard ("Remember the Titans").
Why the hate on IMDB for this? The user reviews seem to be full of hateful 1* reviews, complaining of perverting the historical record. I can only conclude that this cohort is composed of a) black people genuinely upset about the portrayal of Tubman (which I can respect) and b) racists who are deadly opposed to the message the film portrays and looking for an excuse to bring it down.
Ignore them! If you change the name of the lead character to a fictional one and ignore the "based on a true story" angle, this is a genuinely uplifting and inspiring film. I was sat on a crowded plane, but I genuinely teared up at the finale (and particularly the very final shot) of this movie. It really spoke to me.
Recommended..... dig it out on a streaming service near you and make your own mind up.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2020/02/29/one-manns-movies-dvd-review-harriet-2019/. Thanks).
Bob Mann (459 KP) rated 7500 (2019) in Movies
Jun 28, 2020
A 'small film' that packs a big punch
I'm not sure if there is an "IQ" table of Hollywood stars, but I would reckon if there is then Joseph Gordon-Levitt would rate pretty highly. Whenever I see him interviewed he comes across as a highly articulate and intelligent bloke. And that intelligence filters through into his choices of movie role. If you look back at his filmography on IMDB the first thing you notice is that his output is pretty sparse and selective, and the next is that the projects he's done mostly deliver a pretty strong hit rate: "500 Days of Summer"; "Inception", "Looper", "The Dark Knight Rises"; "Don Jon".... the list is impressive.
Here he stars (and really stars) in a small German film. It only had a $5 million budget and in some ways it shows: the speaking cast totals about a dozen; the single location used is the cockpit (an Airbus A320 simulator somewhere? Or a set? The production design is so good, it's difficult to tell) ; and the "score" is so minimalistic (a solo piano piece over the end titles) that it doesn't even merit an IMDB music credit!
But in many ways this is a case of 'small is beautiful'. For this is an extremely tense and claustrophobic action picture.
The Plot: German Captain Michael Lutzmann (Carlo Kitzlinger) and American Co-pilot Tobias Ellis (Joseph Gordon-Levitt) are about to pilot an Airbus A320 on a routine flight from Berlin to Paris. By coincidence, also on the flight is Tobias's partner and mother of his son, stewardess Gökce (Aylin Tezel). Shortly into the flight, three terrorists - Kenan (Murathan Muslu), Daniel (Paul Wollin) and youngster Vedat (Omid Memar) - take over the aircraft. Tobias issues a "7500" (hijack in progress) code. All that is protecting the injured pilots and the security of the 80 people on the flight is the cockpit door.
The film starts slowly, building atmosphere through the pre-flight chit-chat between the pilots and a leisurely take-off. I loved this development of character by Oscar-nominated shorts director Patrick Vollrath. But when the action starts, it starts with a bang and continues in truly tense and visceral style. There's a sense of creeping dread when you realise the terrorist's use of hostages to get the door open, and of who the hostages might be.
I note that one of the "thanks" for the film was director Paul Greengrass, who of course made the outstanding 9/11-themed "United 93" back in 2006. It would be fascinating to understand whether this was a "thank-you" for the inspiration the classic film gave Vollrath, or if there was some practical consultancy undertaken there.
Star of the show here is Joseph Gordon-Levitt who delivers a peerless performance as the pilot under extreme stress. Veering cyclically through terror, emotional breakdown and calm 'training-kicking-in' modes, it's a performance that is almost Oscar nomination-worthy in my book. He's on screen for virtually every shot of the film, and really earned his fee here. He makes for a very believable pilot.
I've read other comment that says the terrorists are rather 2-dimensional in their attempts to "do a 9/11". And to a degree I agree. A nice angle though is the relationship that develops between Tobias and young Vedat in the second half of the movie. There's a 'Stockholm Syndrome' vibe going on here, but this never quite gets resolved satisfactorily.
As such, unfortunately this 'back 9' never really quite lived up to the promise of the first 45 minutes for me. And as a single-location story that had nowhere else to go, the abrupt ending will not be to the liking of some I'm sure.
Not to be confused with the 2014 horror "Flight 7500", this is for once a B-movie that's real nail-biter. The movie doesn't pull its punches, and although there is little of the more graphic violence actually shown, the mind can fill in the gaps effectively which makes for some upsetting moments. Although it never quite lives up to its early promise at only 93 minutes it is strongly deserving of your attention. The movie is available for viewing via Amazon-Prime.
(For the full graphical review please check out One Mann's Movies here - https://bob-the-movie-man.com/2020/06/28/one-manns-movies-film-review-the-7500-2020/ .)
Here he stars (and really stars) in a small German film. It only had a $5 million budget and in some ways it shows: the speaking cast totals about a dozen; the single location used is the cockpit (an Airbus A320 simulator somewhere? Or a set? The production design is so good, it's difficult to tell) ; and the "score" is so minimalistic (a solo piano piece over the end titles) that it doesn't even merit an IMDB music credit!
But in many ways this is a case of 'small is beautiful'. For this is an extremely tense and claustrophobic action picture.
The Plot: German Captain Michael Lutzmann (Carlo Kitzlinger) and American Co-pilot Tobias Ellis (Joseph Gordon-Levitt) are about to pilot an Airbus A320 on a routine flight from Berlin to Paris. By coincidence, also on the flight is Tobias's partner and mother of his son, stewardess Gökce (Aylin Tezel). Shortly into the flight, three terrorists - Kenan (Murathan Muslu), Daniel (Paul Wollin) and youngster Vedat (Omid Memar) - take over the aircraft. Tobias issues a "7500" (hijack in progress) code. All that is protecting the injured pilots and the security of the 80 people on the flight is the cockpit door.
The film starts slowly, building atmosphere through the pre-flight chit-chat between the pilots and a leisurely take-off. I loved this development of character by Oscar-nominated shorts director Patrick Vollrath. But when the action starts, it starts with a bang and continues in truly tense and visceral style. There's a sense of creeping dread when you realise the terrorist's use of hostages to get the door open, and of who the hostages might be.
I note that one of the "thanks" for the film was director Paul Greengrass, who of course made the outstanding 9/11-themed "United 93" back in 2006. It would be fascinating to understand whether this was a "thank-you" for the inspiration the classic film gave Vollrath, or if there was some practical consultancy undertaken there.
Star of the show here is Joseph Gordon-Levitt who delivers a peerless performance as the pilot under extreme stress. Veering cyclically through terror, emotional breakdown and calm 'training-kicking-in' modes, it's a performance that is almost Oscar nomination-worthy in my book. He's on screen for virtually every shot of the film, and really earned his fee here. He makes for a very believable pilot.
I've read other comment that says the terrorists are rather 2-dimensional in their attempts to "do a 9/11". And to a degree I agree. A nice angle though is the relationship that develops between Tobias and young Vedat in the second half of the movie. There's a 'Stockholm Syndrome' vibe going on here, but this never quite gets resolved satisfactorily.
As such, unfortunately this 'back 9' never really quite lived up to the promise of the first 45 minutes for me. And as a single-location story that had nowhere else to go, the abrupt ending will not be to the liking of some I'm sure.
Not to be confused with the 2014 horror "Flight 7500", this is for once a B-movie that's real nail-biter. The movie doesn't pull its punches, and although there is little of the more graphic violence actually shown, the mind can fill in the gaps effectively which makes for some upsetting moments. Although it never quite lives up to its early promise at only 93 minutes it is strongly deserving of your attention. The movie is available for viewing via Amazon-Prime.
(For the full graphical review please check out One Mann's Movies here - https://bob-the-movie-man.com/2020/06/28/one-manns-movies-film-review-the-7500-2020/ .)
Bob Mann (459 KP) rated Nomadland (2020) in Movies
May 5, 2021
Frances McDormand - outstanding acting (2 more)
Cinematography
A novel slice of American alternative lifestyle
Don't exit with your sail-boat still in the driveway
"Nomadland" sees a widowed and depressed Fern (Frances McDormand) take what she needs from her lockup garage and head out on the road in her beat-up converted camper-van. Taking work wherever she can get it, she joins and befriends a similar set of 'nomads', all equally battered by life in different ways.
Positives:
- Undeniably a superior motion picture, full of memorable imagery and with an incredible central performance from the impeccably dour Frances McDormand. Few actors can 'listen' and react as well as she can.
- A key part of this is the superb cinematography from (Brit-born) Joshua James Richards. This is a movie which I MUST revisit on the big-screen when the cinemas reopen in the UK in 2 week's time. I thought "Mank" was terrific (rather against the grain of many other movie fans) largely because of Erik Messerschmitt's glorious black-and-white cinematography. But I suspect Mr Richards (interestingly, Chloé Zhao's partner) was mightily hacked-off for missing out on the golden prize, as well he might be.
- It's difficult to rate the script on this one, primarily because it's difficult to know sometimes where the scripted bits end and the 'ad lib' parts begin. The majority of the cast are real nomads, recounting - presumably - their genuine life experiences. (The only exceptions, I believe, are Frances McDormand, David Strathairn and his son Tay Strathairn. The two Strathairn's last appeared on screen together in 1988's "Eight Men Out" when Tay was just eight years old!). As such, the film is an interesting blend of fiction and documentary.
- The movie skewers both capitalism and materialism nicely. As someone who has recently got off the corporate rat-race by retiring, the tale of the man who died before he could use the retirement sail-boat parked in his driveway resonated strongly (and made me very pleased with my decision!). We all get so wrapped up with running around the maze trying to find the cheese that it's often difficult to appreciate that 'getting off and cutting back' is a stress-free and acceptable option. (Not that I'm particularly cutting back, a la Fern..... start saving the retirement coppers early kids!!)
- The movie is also an effective study of grief and the different ways in which people come to terms with it. (Although that does make the overall film feel like a bit of a downer).
- Beautiful classical accompanying music by the great Ludovico Einaudi.
Negatives:
- I really loved this movie for its first hour. But then, for me, the story didn't really maintain my full interest. It was all a bit grey and bland. Did Fern really have much of a story-arc here? She started off at point A and ended up at point B where AB is a short distance! True that perhaps she has a little more acceptance and contentment with her position. But I was looking for more. If this had been a 90 minute film rather than a 107 minute movie, it would have (imho) worked better.
Summary Thoughts on "Nomadland": When a movie gets so much awards-hype thrown at it, I often fear watching it in case I absolutely hate it! That's not really possible with Nomadland, since it is just so well made that you can't help but appreciate what Chloé Zhao and her team have done here. It successfully challenges your misconceptions of what a "normal life" can be. The life might not be for you, or me, but it is an option.
That being said, this is not a movie that will be on my "must re-watch repeatedly" list (although I definitely DO want to see it on the big screen). It sits on that 'worthy-but-dull' list, alongside "Lincoln" and "Moonlight": Movies that I can fully appreciate for their artistry but not for their entertainment value.
As a movie that explores an unexplored social strata in America, and does it in a novel semi-documentary manner, I can understand and accept why it was voted as the Best Film by the Academy. But 'entertainment' ranks highly on my list of criteria. So - for my personal Oscar Best Film choice - I would still go with "Promising Young Woman" every time.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/05/05/nomadland-dont-exit-with-your-sailboat-still-in-your-driveway/ . Thanks.)
Positives:
- Undeniably a superior motion picture, full of memorable imagery and with an incredible central performance from the impeccably dour Frances McDormand. Few actors can 'listen' and react as well as she can.
- A key part of this is the superb cinematography from (Brit-born) Joshua James Richards. This is a movie which I MUST revisit on the big-screen when the cinemas reopen in the UK in 2 week's time. I thought "Mank" was terrific (rather against the grain of many other movie fans) largely because of Erik Messerschmitt's glorious black-and-white cinematography. But I suspect Mr Richards (interestingly, Chloé Zhao's partner) was mightily hacked-off for missing out on the golden prize, as well he might be.
- It's difficult to rate the script on this one, primarily because it's difficult to know sometimes where the scripted bits end and the 'ad lib' parts begin. The majority of the cast are real nomads, recounting - presumably - their genuine life experiences. (The only exceptions, I believe, are Frances McDormand, David Strathairn and his son Tay Strathairn. The two Strathairn's last appeared on screen together in 1988's "Eight Men Out" when Tay was just eight years old!). As such, the film is an interesting blend of fiction and documentary.
- The movie skewers both capitalism and materialism nicely. As someone who has recently got off the corporate rat-race by retiring, the tale of the man who died before he could use the retirement sail-boat parked in his driveway resonated strongly (and made me very pleased with my decision!). We all get so wrapped up with running around the maze trying to find the cheese that it's often difficult to appreciate that 'getting off and cutting back' is a stress-free and acceptable option. (Not that I'm particularly cutting back, a la Fern..... start saving the retirement coppers early kids!!)
- The movie is also an effective study of grief and the different ways in which people come to terms with it. (Although that does make the overall film feel like a bit of a downer).
- Beautiful classical accompanying music by the great Ludovico Einaudi.
Negatives:
- I really loved this movie for its first hour. But then, for me, the story didn't really maintain my full interest. It was all a bit grey and bland. Did Fern really have much of a story-arc here? She started off at point A and ended up at point B where AB is a short distance! True that perhaps she has a little more acceptance and contentment with her position. But I was looking for more. If this had been a 90 minute film rather than a 107 minute movie, it would have (imho) worked better.
Summary Thoughts on "Nomadland": When a movie gets so much awards-hype thrown at it, I often fear watching it in case I absolutely hate it! That's not really possible with Nomadland, since it is just so well made that you can't help but appreciate what Chloé Zhao and her team have done here. It successfully challenges your misconceptions of what a "normal life" can be. The life might not be for you, or me, but it is an option.
That being said, this is not a movie that will be on my "must re-watch repeatedly" list (although I definitely DO want to see it on the big screen). It sits on that 'worthy-but-dull' list, alongside "Lincoln" and "Moonlight": Movies that I can fully appreciate for their artistry but not for their entertainment value.
As a movie that explores an unexplored social strata in America, and does it in a novel semi-documentary manner, I can understand and accept why it was voted as the Best Film by the Academy. But 'entertainment' ranks highly on my list of criteria. So - for my personal Oscar Best Film choice - I would still go with "Promising Young Woman" every time.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/05/05/nomadland-dont-exit-with-your-sailboat-still-in-your-driveway/ . Thanks.)
Bob Mann (459 KP) rated The Upside (2019) in Movies
Sep 28, 2021
Not the 5* French classic, but a fun and moving movie nonetheless.
So, the movie-going audience for this film will divide into two categories:
Category A: those that have seen the original 2011 French classic “The Intouchables” that this is based on, and;
Category B: those that haven’t.
2011 is just before I started “One Mann’s Movies”, but “The Intouchables” would have got 5* from me, no problem.
This movie joins a list of standout European movies – for example, “The Girl with the Dragon Tattoo”; “Let The Right One In”; “Sleepless Night”; etc. – that have had Hollywood “makeovers” that don’t match up to the originals. And this is no exception. However, it’s still been well made and deserves respect as a standalone piece of movie-making.
The Plot
Based on a true story, Phillip Lacasse (Bryan Cranston) is left both paraplegic and widowed by a string of bad luck. Not that money can buy you everything, but his care arrangements are substantially helped by him being a multi-millionaire (“Not rich enough to buy The Yankees; Rich enough to buy The Mets”). This is from success in investments and writing about such investments.
Depressed, cranky and with a “DNR” that his diligent PA Yvonne (Nicole Kidman) seems unable to comply with, Phillip lashes out at anyone and everyone and so dispatches his carers with monotonous regularity. Dell Scott (Kevin Hart) is on parole, with the requirement to seek work. Due to a mix-up, he finds himself in the employ of Phillip: with the suspicion that he’s been hired because he is the very worst candidate imaginable, and thus the most likely to let Phillip shuffle off this mortal coil. But the two men’s antipathy to each other slowly thaws as they teach each other new tricks.
Pin left in the grenade
Those who have seen “The Intouchables” will fondly remember the first 5 minutes of that film: a flash-forward to a manic police car-chase featuring our protagonists (there played by François Cluzet and Omar Sy). It drops like a comedy hand-grenade to open the film. Unfortunately, you can’t help but feel a bit let down by the same re-creation in “The Upside”. It has all the same content but none of the heart.
After that rocky start, the film continues to rather stutter along. Part of the reason for this I think is Kevin Hart. It’s not that he’s particularly bad in the role: it’s just that he IS Kevin Hart, and I was constantly thinking “there’s that comedian playing that role”.
However, once the story gets into its swing, giving Cranston more of a chance to shine (which he does), then the film started to motor and my reservations about Hart started to wane. Some of these story set pieces – such as the one about the art work – are punch-the-air funny in their own right. Cranston’s timing in delivering his punchlines is immaculate.
This IS what actors do
There seems to have been some furore about the casting of Bryan Cranston as the role of the disabled millionaire instead of a disabled actor. Lord save us! He’s an actor! That’s what actors do for a living: pretend to be people they’re not! It’s also worth pointing out that François Cluzet was an able-bodied actor as well.
As already mentioned, Bryan Cranston excels in the role. Phillip goes through such a wide range of emotions from despair to pure joy and back again that you can’t help but be impressed by the performance.
On the female side of the cast, it’s really nice to see Nicole Kidman in such a quiet and understated role and it’s nicely done; Aja Naomi King does a nice job as Dell’s protective ex-girlfriend Latrice; and there’s a nice female cameo as well, which I won’t spoil since I wasn’t expecting to see her in the film.
Final Thoughts
As a standalone film it has some laugh-out-loud moments, some feelgood highs and some moments of real pathos. The audience I saw this with was small, but there was still a buzz in the room and sporadic applause as the end titles came up: God only knows that’s unusual for a film!
The director is “Limitless” and “Divergent” director Neil Burger, and it’s a perfectly fun and innocent night out at the flicks that I commend to the house in this month of celluloid awards heavyweights.
Category A: those that have seen the original 2011 French classic “The Intouchables” that this is based on, and;
Category B: those that haven’t.
2011 is just before I started “One Mann’s Movies”, but “The Intouchables” would have got 5* from me, no problem.
This movie joins a list of standout European movies – for example, “The Girl with the Dragon Tattoo”; “Let The Right One In”; “Sleepless Night”; etc. – that have had Hollywood “makeovers” that don’t match up to the originals. And this is no exception. However, it’s still been well made and deserves respect as a standalone piece of movie-making.
The Plot
Based on a true story, Phillip Lacasse (Bryan Cranston) is left both paraplegic and widowed by a string of bad luck. Not that money can buy you everything, but his care arrangements are substantially helped by him being a multi-millionaire (“Not rich enough to buy The Yankees; Rich enough to buy The Mets”). This is from success in investments and writing about such investments.
Depressed, cranky and with a “DNR” that his diligent PA Yvonne (Nicole Kidman) seems unable to comply with, Phillip lashes out at anyone and everyone and so dispatches his carers with monotonous regularity. Dell Scott (Kevin Hart) is on parole, with the requirement to seek work. Due to a mix-up, he finds himself in the employ of Phillip: with the suspicion that he’s been hired because he is the very worst candidate imaginable, and thus the most likely to let Phillip shuffle off this mortal coil. But the two men’s antipathy to each other slowly thaws as they teach each other new tricks.
Pin left in the grenade
Those who have seen “The Intouchables” will fondly remember the first 5 minutes of that film: a flash-forward to a manic police car-chase featuring our protagonists (there played by François Cluzet and Omar Sy). It drops like a comedy hand-grenade to open the film. Unfortunately, you can’t help but feel a bit let down by the same re-creation in “The Upside”. It has all the same content but none of the heart.
After that rocky start, the film continues to rather stutter along. Part of the reason for this I think is Kevin Hart. It’s not that he’s particularly bad in the role: it’s just that he IS Kevin Hart, and I was constantly thinking “there’s that comedian playing that role”.
However, once the story gets into its swing, giving Cranston more of a chance to shine (which he does), then the film started to motor and my reservations about Hart started to wane. Some of these story set pieces – such as the one about the art work – are punch-the-air funny in their own right. Cranston’s timing in delivering his punchlines is immaculate.
This IS what actors do
There seems to have been some furore about the casting of Bryan Cranston as the role of the disabled millionaire instead of a disabled actor. Lord save us! He’s an actor! That’s what actors do for a living: pretend to be people they’re not! It’s also worth pointing out that François Cluzet was an able-bodied actor as well.
As already mentioned, Bryan Cranston excels in the role. Phillip goes through such a wide range of emotions from despair to pure joy and back again that you can’t help but be impressed by the performance.
On the female side of the cast, it’s really nice to see Nicole Kidman in such a quiet and understated role and it’s nicely done; Aja Naomi King does a nice job as Dell’s protective ex-girlfriend Latrice; and there’s a nice female cameo as well, which I won’t spoil since I wasn’t expecting to see her in the film.
Final Thoughts
As a standalone film it has some laugh-out-loud moments, some feelgood highs and some moments of real pathos. The audience I saw this with was small, but there was still a buzz in the room and sporadic applause as the end titles came up: God only knows that’s unusual for a film!
The director is “Limitless” and “Divergent” director Neil Burger, and it’s a perfectly fun and innocent night out at the flicks that I commend to the house in this month of celluloid awards heavyweights.
BankofMarquis (1832 KP) rated Terminator: Dark Fate (2019) in Movies
Nov 6, 2019
Good (enough) conclusion to the Franchise
After a few attempts at resurrecting this franchise, James Cameron has (wisely) decided to bury the franchise with one last TERMINATOR film starring the original Terminator himself, Arnold Schwarzenegger. TERMINATOR: DARK FATE is a direct sequel to T2: JUDGEMENT DAY (or so says Producer/Writer Cameron) as it ignores the 3rd and 4th movies in this series (as well as the television show THE SARAH CONNOR CHRONICLES).
And that is a wise move as it simplifies things and just lets us get on to what a Terminator movie does best - fantastic action sequences, state of the art CGI, a killer robot that will stop at nothing to accomplish it's mission, and a plucky hero or 2 to battle said killer robot.
Oh...did I mention that they recruit a Terminator to help them stop the Terminator?
And it all works well...enough. Set in this year (2019), TERMINATOR: DARK FATE tells the tale of what happens next after Sarah and John Connor stopped Judgement Day in the 2nd Terminator film. A deadly - even more dangerous - Terminator (version 9!) returns to 2019 to kill a single woman (Natalie Reyes). This time she is helped by an augmented human from the future (Mackenzie Davis) and...Sarah Connor! Returning to this film, all buffed up and aging, is a craggy voiced Linda Hamilton as Sarah, who brings an adequate amount of world-weary, "been there, done that" attitude to the proceedings that pretty much carry the first half of the film.
And...just as the film was beginning to sag in the middle, along comes Arnold.
Playing an aging Terminator (which is explained, well enough, in the plot), Arnold plays the Terminator (who has been living with humans for over 20 years) with a wink in his eye and a sense of humor about him. Yep...this is a Terminator with a funny bone. And - I'll be darned - it works! Thanks to the performance of Mr. Schwarzenegger. He knows exactly what kind of film he is in and brings the right amount of energy, muscle and humor to the proceedings. He pretty much carries this film on his broad shoulders for the 2nd half - and he carries it with ease.
Credit Director Tim Miller (DEADPOOL) for keeping things light, simple and moving along crisply. He, too, understands the type of film he is making (and the audience that will go see this type of film) so he keeps the dialogue light and snappy, the plot at it's simplest and the action as high as he can go - blowing things up at a moment's notice. It's not sublte art by any stretch of the imagination, but it is art - in a way - and art that he does well.
If this is the last Terminator film (and I hope it is), then it is going out on a high (enough) note. I was surprisingly entertained (and not preached to) and, I think that is all I could have hoped for in a Terminator flick.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
And that is a wise move as it simplifies things and just lets us get on to what a Terminator movie does best - fantastic action sequences, state of the art CGI, a killer robot that will stop at nothing to accomplish it's mission, and a plucky hero or 2 to battle said killer robot.
Oh...did I mention that they recruit a Terminator to help them stop the Terminator?
And it all works well...enough. Set in this year (2019), TERMINATOR: DARK FATE tells the tale of what happens next after Sarah and John Connor stopped Judgement Day in the 2nd Terminator film. A deadly - even more dangerous - Terminator (version 9!) returns to 2019 to kill a single woman (Natalie Reyes). This time she is helped by an augmented human from the future (Mackenzie Davis) and...Sarah Connor! Returning to this film, all buffed up and aging, is a craggy voiced Linda Hamilton as Sarah, who brings an adequate amount of world-weary, "been there, done that" attitude to the proceedings that pretty much carry the first half of the film.
And...just as the film was beginning to sag in the middle, along comes Arnold.
Playing an aging Terminator (which is explained, well enough, in the plot), Arnold plays the Terminator (who has been living with humans for over 20 years) with a wink in his eye and a sense of humor about him. Yep...this is a Terminator with a funny bone. And - I'll be darned - it works! Thanks to the performance of Mr. Schwarzenegger. He knows exactly what kind of film he is in and brings the right amount of energy, muscle and humor to the proceedings. He pretty much carries this film on his broad shoulders for the 2nd half - and he carries it with ease.
Credit Director Tim Miller (DEADPOOL) for keeping things light, simple and moving along crisply. He, too, understands the type of film he is making (and the audience that will go see this type of film) so he keeps the dialogue light and snappy, the plot at it's simplest and the action as high as he can go - blowing things up at a moment's notice. It's not sublte art by any stretch of the imagination, but it is art - in a way - and art that he does well.
If this is the last Terminator film (and I hope it is), then it is going out on a high (enough) note. I was surprisingly entertained (and not preached to) and, I think that is all I could have hoped for in a Terminator flick.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated 21 Bridges (2019) in Movies
Sep 22, 2020
Direction and Lead Performances elevate a "so-so" script
The world lost a tremendous talent when 44 year old Chadwick Boseman lost his battle with cancer. Whether it was as Jackie Robinson in 42, Thurgood Marshall in THURGOOD or as T'Challa/Black Panther in the Marvel movies, Boseman's charm and charisma lept off the screen and drew you into whatever project he is in.
This charm and charisma is very much in evidence in the by-the-book cops chasing robbers action flick 21 BRIDGES. As the cop chasing "the fugitive", Boseman elevates the proceedings to a level above what this average script had to offer.
Set in NYC, 21 BRIDGES tells the tale of Detective Andre Davis (Bozeman) who must chase down a couple of thieves - and cop killers - before they can escape New York. Told in one night, Davis makes the call to close the "21 Bridges" of the island of Manhattan so the bad guys are stuck on the island.
And...that's the first disappointment with this film, it doesn't do anything with that premise. Do the bad guys try to escape on one of those "21 Bridges"? Nope. The bridges are never really mentioned again...so why call this film "21 Bridges"?
What does work is Boseman's performance. His Davis is competent, honest, smart and earnest and you are drawn into his work. As is the work of the person who is thrust into the action as his partner, Vice Cop Frankie Burns (Sienna Miller). You might roll your eyes when you hear Miller's name for her early career was more about being on the tabloid pages than it was about being on the screen, but she has morphed herself - and her career - into something quite interesting through turns in films like FOXCATCHER and AMERICAN SNIPER and she is as equally interesting as Bozeman in this film. The 2 make a good pair.
The rest of the supporting cast - Taylor Kitsch, Keith David and the great J.K. Simmons - are solid, if not spectacular. But there are 2 standouts. Alexander Siddig (Dr. Bashir in STAR TREK: DEEP SPACE 9) is interesting as the "money launderer" and Stephan James (IF BEALE STREET COULD TALK) is just as charming and charismatic as Bozeman as one of the the thieves on the run. If you are looking for a young, charismatic actor to fill the hole created by Bozeman's death, James could very well fit the bill.
I've mentioned that the script by Adam Mervis and Matthew Michael Carnahan is nothing special, but what is special is the Direction by Brian Kirk (a TV Director of such shows as GAME OF THRONES and LUTHER). This is his Major Motion Picture debut (as far as I could tell) and there were some VERY interesting shots and some taught, tense moments. He'll be a director to watch in the future.
While nothing too special, 21 BRIDGES is better than "good enough" - a cops 'n robbers film that will hold your interest for the relatively quick 1 hour and 39 minute running time.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
This charm and charisma is very much in evidence in the by-the-book cops chasing robbers action flick 21 BRIDGES. As the cop chasing "the fugitive", Boseman elevates the proceedings to a level above what this average script had to offer.
Set in NYC, 21 BRIDGES tells the tale of Detective Andre Davis (Bozeman) who must chase down a couple of thieves - and cop killers - before they can escape New York. Told in one night, Davis makes the call to close the "21 Bridges" of the island of Manhattan so the bad guys are stuck on the island.
And...that's the first disappointment with this film, it doesn't do anything with that premise. Do the bad guys try to escape on one of those "21 Bridges"? Nope. The bridges are never really mentioned again...so why call this film "21 Bridges"?
What does work is Boseman's performance. His Davis is competent, honest, smart and earnest and you are drawn into his work. As is the work of the person who is thrust into the action as his partner, Vice Cop Frankie Burns (Sienna Miller). You might roll your eyes when you hear Miller's name for her early career was more about being on the tabloid pages than it was about being on the screen, but she has morphed herself - and her career - into something quite interesting through turns in films like FOXCATCHER and AMERICAN SNIPER and she is as equally interesting as Bozeman in this film. The 2 make a good pair.
The rest of the supporting cast - Taylor Kitsch, Keith David and the great J.K. Simmons - are solid, if not spectacular. But there are 2 standouts. Alexander Siddig (Dr. Bashir in STAR TREK: DEEP SPACE 9) is interesting as the "money launderer" and Stephan James (IF BEALE STREET COULD TALK) is just as charming and charismatic as Bozeman as one of the the thieves on the run. If you are looking for a young, charismatic actor to fill the hole created by Bozeman's death, James could very well fit the bill.
I've mentioned that the script by Adam Mervis and Matthew Michael Carnahan is nothing special, but what is special is the Direction by Brian Kirk (a TV Director of such shows as GAME OF THRONES and LUTHER). This is his Major Motion Picture debut (as far as I could tell) and there were some VERY interesting shots and some taught, tense moments. He'll be a director to watch in the future.
While nothing too special, 21 BRIDGES is better than "good enough" - a cops 'n robbers film that will hold your interest for the relatively quick 1 hour and 39 minute running time.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Touch The Video Lite -Fully featured video player
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Touch The Video Lite is a video player which allows you to easily handle videos with intuitive touch...
Magic Piano by Smule
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8.3
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From Bruno Mars to Mozart, play the hottest songs! Relax your soul with beautiful sounds of piano...
Bob Mann (459 KP) rated Searching (2018) in Movies
Sep 28, 2021
A phenomenally intriguing social media-focused movie.
There have been many movies that have featured computing and, more specifically, social media at their heart. Some these have used the device of the view “from the screen”: 2016’s entertaining “Nerve” had elements of this, with the majority of the rest of the film being ‘augmented reality’ over the video. But it was 2014’s teen-horror “Unfriended” that set a new bar being seen entirely through a computer screen. No surprise then that the producer of that one – Timur Bekmambetov – is also behind “Searching”. For – although taking a few liberties with news vidoes, that may or may not be showing on Youtube – the whole film is shot through computer screens.
“Oh no!” you sigh “another gimmicky B-movie”. Far from it. Not only is this a really helpful training film for Windows tips and tricks! It’s also a totally absorbing crime mystery anchored by a superb script that keeps the audience guessing to the end.
John Cho – most famous as Sulu in the Star Trek reboots – plays David Kim who is trying to control his 16 year-old daughter Margot (Michelle Ya, in her movie debut). Kim, working in some form of product development, is no technology luddite, and when Margot disappears he uses his nous about social media to try to piece together the fragments of the puzzle to assist police Detective Vick (Debra Messing, “Grace” in “Will and Grace”).
To say any more would ruin what is a masterly roller-coaster ride of twists and turns. The script by first-time director Aneesh Chaganty and Sev Ohanian doesn’t let its audience relax for a moment, spawning more movie cul-de-sacs and red herrings than a classic Agatha Christie.
In the acting stakes John Cho – who really doesn’t get given much to do in the Star Trek background – is here impressively believable as the parent, struggling with both bringing up a teen – enough to stress any mortal out – and an emotional past. Ms La is also equally engaging, given most of her scenes are via close-up web cam.
Criticisms? The film, at 102 minutes, might have usefully trimmed 10 minutes to be an even tighter 90 minute classic. I also thought it pulled its punches in the finale, where a director of the calibre of Hitchcock might have gone for a much darker angle without a qualm.
But I’m nit-picking. This is an excellent thriller that also effectively drills into grief and bereavement (a warning for anyone struggling with this – especially via the “Big C”… you might want to give this one a miss… #Up). It also ironically highlights that whilst broadcasting by people has never been more prevelant, communication between family members is sometimes totally lacking.
Clearly people agree with me that it is excellent: the preview cinema audience I saw this with was buzzing afterwards, and this won the “Audience Award” at Sundance.
“Searching” will be on general release in the UK and US from August 31st 2018. Highly recommended!
“Oh no!” you sigh “another gimmicky B-movie”. Far from it. Not only is this a really helpful training film for Windows tips and tricks! It’s also a totally absorbing crime mystery anchored by a superb script that keeps the audience guessing to the end.
John Cho – most famous as Sulu in the Star Trek reboots – plays David Kim who is trying to control his 16 year-old daughter Margot (Michelle Ya, in her movie debut). Kim, working in some form of product development, is no technology luddite, and when Margot disappears he uses his nous about social media to try to piece together the fragments of the puzzle to assist police Detective Vick (Debra Messing, “Grace” in “Will and Grace”).
To say any more would ruin what is a masterly roller-coaster ride of twists and turns. The script by first-time director Aneesh Chaganty and Sev Ohanian doesn’t let its audience relax for a moment, spawning more movie cul-de-sacs and red herrings than a classic Agatha Christie.
In the acting stakes John Cho – who really doesn’t get given much to do in the Star Trek background – is here impressively believable as the parent, struggling with both bringing up a teen – enough to stress any mortal out – and an emotional past. Ms La is also equally engaging, given most of her scenes are via close-up web cam.
Criticisms? The film, at 102 minutes, might have usefully trimmed 10 minutes to be an even tighter 90 minute classic. I also thought it pulled its punches in the finale, where a director of the calibre of Hitchcock might have gone for a much darker angle without a qualm.
But I’m nit-picking. This is an excellent thriller that also effectively drills into grief and bereavement (a warning for anyone struggling with this – especially via the “Big C”… you might want to give this one a miss… #Up). It also ironically highlights that whilst broadcasting by people has never been more prevelant, communication between family members is sometimes totally lacking.
Clearly people agree with me that it is excellent: the preview cinema audience I saw this with was buzzing afterwards, and this won the “Audience Award” at Sundance.
“Searching” will be on general release in the UK and US from August 31st 2018. Highly recommended!