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JT (287 KP) rated The Sweeney (2012) in Movies
Mar 10, 2020
Nick Love’s take on the ’70s TV cop show of the same name packs every bit a hard knuckled punch as you would expect it to. The director of such films as The Football Factory and The Business even manages to stay clear of Danny Dyer and cast a slick and talented bunch of individuals, led by Ray Winstone.
Regan (Winstone) and Carter (Drew) are a pair of detectives on the flying squad, they don’t play nice or appreciate authority and when it comes to nicking thieves they go in armed with an array of unique weapons including pick axe handles. Quite simply put they “do the things you can only dream of”.
The plot is a little thin on the ground at times, and centres on former villain Allen (Paul Anderson) making a return to Regan’s patch, of which he doesn’t take too kindly when he has to let Allen go after having pulled him in for questioning in relation to a bank job that ends with an execution.
Regan himself is under the watchful eye of not just his boss Frank Haskins (Damian Lewis) but internal watchdog Ivan Lewis (Steven Mackintosh) who has a greater reason than anyone to note Regan’s movements, with Regan sharing more than coffee with Lewis’s wife Nancy.
The action is well choreographed from the opening heist to a shootout through Trafalgar Square (of which annoyingly they can only hit innocent bystanders), the film’s climactic car chase is a bit of a let down however. After all that proceeded before it I was expecting something a little better than a blast around a caravan park.
The chemistry between Regan and Carter is good, a father and son styled relationship is pushed to breaking point at times, but beneath the hardened exterior lies a mutual respect for each other that is followed through to the very end.
Winstone looks battle weary and sounds more cockney than ever (if that could be at all possible), he’s like a bulldog that won’t let go of a bone or come when called. Drew is a fresh casting choice and I enjoyed his performance in Harry Brown, but here he seems to deliver his lines in a slow and laborious manner.
The sweeping landscape of London is painted in cold grey light, panels of sun laying across pavements and car windows trying to brighten the mood. It’s a violent mood, twinned with colourful dialogue that is more than to be expected. It’s a decent enough effort and certainly Love’s best film to date.
Regan (Winstone) and Carter (Drew) are a pair of detectives on the flying squad, they don’t play nice or appreciate authority and when it comes to nicking thieves they go in armed with an array of unique weapons including pick axe handles. Quite simply put they “do the things you can only dream of”.
The plot is a little thin on the ground at times, and centres on former villain Allen (Paul Anderson) making a return to Regan’s patch, of which he doesn’t take too kindly when he has to let Allen go after having pulled him in for questioning in relation to a bank job that ends with an execution.
Regan himself is under the watchful eye of not just his boss Frank Haskins (Damian Lewis) but internal watchdog Ivan Lewis (Steven Mackintosh) who has a greater reason than anyone to note Regan’s movements, with Regan sharing more than coffee with Lewis’s wife Nancy.
The action is well choreographed from the opening heist to a shootout through Trafalgar Square (of which annoyingly they can only hit innocent bystanders), the film’s climactic car chase is a bit of a let down however. After all that proceeded before it I was expecting something a little better than a blast around a caravan park.
The chemistry between Regan and Carter is good, a father and son styled relationship is pushed to breaking point at times, but beneath the hardened exterior lies a mutual respect for each other that is followed through to the very end.
Winstone looks battle weary and sounds more cockney than ever (if that could be at all possible), he’s like a bulldog that won’t let go of a bone or come when called. Drew is a fresh casting choice and I enjoyed his performance in Harry Brown, but here he seems to deliver his lines in a slow and laborious manner.
The sweeping landscape of London is painted in cold grey light, panels of sun laying across pavements and car windows trying to brighten the mood. It’s a violent mood, twinned with colourful dialogue that is more than to be expected. It’s a decent enough effort and certainly Love’s best film to date.
JT (287 KP) rated Shame (2012) in Movies
Mar 10, 2020
If you ever wondered what constitutes as a powerful piece of film making then Shame, directed by Steve McQueen, is it. Michael Fassbender plays Brandon a man who has an addiction for sex and all things surrounding it. From porn, webcams, fingering random girls in bars, it’s all covered here in gratuitous fashion that certainly delivers shock value.
When his sister, Sissy (Mulligan) turns up at his apartment unannounced it throws his life into turmoil as she carries with her problems of her own.Brandon’s sexual appetite is a massive part of his life, he doesn’t go in for long term relationships instead finding time to pay for sex and engage in dates and the occasional one night stand.
His hunger drifts into the work place as well, which proves a dangerous playground. As the film grows Brandon begins to realise that his addiction is slowly consuming him, unable to perform sexually in some cases he is gripped by emotional dilemmas while at the same time trying to orchestrate a normal existence.
Fassbender is brilliant, giving by far, one of his best performances. Strange that actors seem to do this in films that generally are not that well known, albeit only around film festivals as opposed to main stream cinema. Brandon is a character that is trying to escape his inner demons, like with any addiction the road to ridding the problem is a long journey.
We see Brandon having a clear out of his apartment, throwing porn mags, DVDs and even his entire laptop, casting it onto the street in bin bags like it was a quick fix solution, which it’s not.
The supporting cast, aside Mulligan, is limited. James Badge Dale as Brandon’s over excited and at times sleazy boss holds his own but it is a relatively small part so he doesn’t have a lot to chew on. Shame is graphic, if you’re the least bit prudish then this film is certainly not going to be for you. Fassbender is a hollow shell, but the emotion beneath him is bubbling and the final act shows Brandon on a night of careless sexual exploitation, which takes him on a painful journey of self loathing.
It’s a film that will be open to much debate, the last scenes will no doubt set tongues wagging. But through all the controversy lies a film that depicts an addiction just like any other, and tries to break through to the underlying causes behind it, as well as the people that it affects.
When his sister, Sissy (Mulligan) turns up at his apartment unannounced it throws his life into turmoil as she carries with her problems of her own.Brandon’s sexual appetite is a massive part of his life, he doesn’t go in for long term relationships instead finding time to pay for sex and engage in dates and the occasional one night stand.
His hunger drifts into the work place as well, which proves a dangerous playground. As the film grows Brandon begins to realise that his addiction is slowly consuming him, unable to perform sexually in some cases he is gripped by emotional dilemmas while at the same time trying to orchestrate a normal existence.
Fassbender is brilliant, giving by far, one of his best performances. Strange that actors seem to do this in films that generally are not that well known, albeit only around film festivals as opposed to main stream cinema. Brandon is a character that is trying to escape his inner demons, like with any addiction the road to ridding the problem is a long journey.
We see Brandon having a clear out of his apartment, throwing porn mags, DVDs and even his entire laptop, casting it onto the street in bin bags like it was a quick fix solution, which it’s not.
The supporting cast, aside Mulligan, is limited. James Badge Dale as Brandon’s over excited and at times sleazy boss holds his own but it is a relatively small part so he doesn’t have a lot to chew on. Shame is graphic, if you’re the least bit prudish then this film is certainly not going to be for you. Fassbender is a hollow shell, but the emotion beneath him is bubbling and the final act shows Brandon on a night of careless sexual exploitation, which takes him on a painful journey of self loathing.
It’s a film that will be open to much debate, the last scenes will no doubt set tongues wagging. But through all the controversy lies a film that depicts an addiction just like any other, and tries to break through to the underlying causes behind it, as well as the people that it affects.
Gareth von Kallenbach (980 KP) rated Joy (2015) in Movies
Aug 6, 2019
Jennifer Lawrence (Joy), Robert De Niro (Rudy, Joy’s father),
Bradley Cooper (Neil Walker, Joy’s eventual boss), Edgar Ramirez (Tony,
Joy’s ex-husband), Isabella Rossellini (Trudy, Rudy’s girlfriend), Diane
Ladd (Mimi, Joy’s grandmother), Virginia Madsen (Terry, Joys mother),
and Elisabeth Röhm (Peggy, Joys half-sister)
Also making appearances that were notable to me were Susan Lucci as
Danica, a character seen on the TV soap opera that Joys mother Terry is
constantly watching, and Melissa Rivers, playing her mother Joan Rivers
on the TV channel QVC.
David O. Russel wrote, directed and produced the film, bringing the
headliners back for yet another go ‘round, after the successes of Silver
Linings Playbook and American Hustle.
Joy is a divorced mother of 2, living in a house with her Grandmother
Mimi, who she adores, her mother, who practically never leaves her room,
her 2 kids, and her ex-husband in the basement. Shortly after the film
begins, her father Rudy also moves into the basement.
Joy struggles through her life every day, never quite able to get ahead,
and always just barely making ends meet. Her grandmother has big dreams
for her and insists that Joy will “rise above” and “make something” of
her life, but Joy struggles to have faith, and indeed, to even begin to
figure out how to go about such a seeming monumental task.
The story follows Joy and her family through somewhat ridiculous
scenarios, and while it was acted well by Jennifer Lawrence, De Niro,
and most of the rest of the cast, I had a hard time really getting into
the film.
I kept finding myself wondering why Joys family wasn’t more supportive
and why they all, with the exception of her Mimi and her ex-husband,
seemed to be more trying to bring her down and keep her down, than
giving her a boost and a push up. I always have liked Robert De Niro,
but in this film found myself seriously disliking him. I suppose that
speaks to his ability as an actor and being able to portray a role in
which he is “supposed to be” less than 100% likeable.
Jennifer Lawrence as Joy shows tenaciousness, grit and a will to succeed
and “rise above”, at least once she gets to the point in the film where
she has “HAD ENOUGH” of being walked on and disregarded, and plays the
part wonderfully.
I kept hoping to like the movie better, but sadly, also kept waiting for
it to GET better.
Bradley Cooper (Neil Walker, Joy’s eventual boss), Edgar Ramirez (Tony,
Joy’s ex-husband), Isabella Rossellini (Trudy, Rudy’s girlfriend), Diane
Ladd (Mimi, Joy’s grandmother), Virginia Madsen (Terry, Joys mother),
and Elisabeth Röhm (Peggy, Joys half-sister)
Also making appearances that were notable to me were Susan Lucci as
Danica, a character seen on the TV soap opera that Joys mother Terry is
constantly watching, and Melissa Rivers, playing her mother Joan Rivers
on the TV channel QVC.
David O. Russel wrote, directed and produced the film, bringing the
headliners back for yet another go ‘round, after the successes of Silver
Linings Playbook and American Hustle.
Joy is a divorced mother of 2, living in a house with her Grandmother
Mimi, who she adores, her mother, who practically never leaves her room,
her 2 kids, and her ex-husband in the basement. Shortly after the film
begins, her father Rudy also moves into the basement.
Joy struggles through her life every day, never quite able to get ahead,
and always just barely making ends meet. Her grandmother has big dreams
for her and insists that Joy will “rise above” and “make something” of
her life, but Joy struggles to have faith, and indeed, to even begin to
figure out how to go about such a seeming monumental task.
The story follows Joy and her family through somewhat ridiculous
scenarios, and while it was acted well by Jennifer Lawrence, De Niro,
and most of the rest of the cast, I had a hard time really getting into
the film.
I kept finding myself wondering why Joys family wasn’t more supportive
and why they all, with the exception of her Mimi and her ex-husband,
seemed to be more trying to bring her down and keep her down, than
giving her a boost and a push up. I always have liked Robert De Niro,
but in this film found myself seriously disliking him. I suppose that
speaks to his ability as an actor and being able to portray a role in
which he is “supposed to be” less than 100% likeable.
Jennifer Lawrence as Joy shows tenaciousness, grit and a will to succeed
and “rise above”, at least once she gets to the point in the film where
she has “HAD ENOUGH” of being walked on and disregarded, and plays the
part wonderfully.
I kept hoping to like the movie better, but sadly, also kept waiting for
it to GET better.
Gareth von Kallenbach (980 KP) rated Bridesmaids (2011) in Movies
Aug 7, 2019
Everyone has a best friend during each stage of life but only a few have the same one since childhood. In this case we have Annie (Kristen Wiig) who is asked by her very best friend Lillian (Maya Rudolph) to be her maid of honor. Although Annie doesn’t think she can handle the stresses and responsibilities of being a maid of honor, she reluctantly agrees.
A failed baker now working in a jewelry shop, Annie is facing a crisis. She is in her thirties and no longer satisfied with “booty calls.” Rooming with two bizarre Brits, Annie also has to put up with a mother who is addicted to speaking at AA meetings yet has never had an alcoholic beverage. However Annie did get the job working in a jewelry store as a favor provided by an AA member that her mother sponsors. Will this wedding be the end of the mess she’s made of her life, or will she continue down this pathetic path?
Meanwhile, Lillian, who is marrying a very wealthy man, has become close friends with Helen (Rose Byrne), the wife of her fiance’s boss. When Annie and Helen meet at the engagement party, tension arises and a battle ensues over the microphone to see who can give the bride the best speech. Annie feels threatened by Lillian’s new “best friend” and declares war against Helen. Her first move is a bridesmaids’ brunch at a sketchy Brazilian restaurant with highly uncomfortable results. Unfortunately the results don’t reveal themselves until Lillian, Hellen, Annie and bridesmaids Megan, Rita and Becca (Melissa McCarthy,Wendi McLendon-Covey and Elli Kemper) are in the middle of trying on bridesmaids dresses in a very swanky high-end bridal shop.
This and other unfortunate bridal mishaps that drive “Bridesmaids” are the products of the writing collaboration of Kristen Wigg and Annie Mumolo (who can be seen in a plane scene as the nervous neighbor). Directed by Paul Feig, “Bridesmaids” is this year’s “Hangover” for women. It is great to finally see a raunchy rom-com that does not leave any room for a dull moment. Some of the funny dialogue was drowned out by the audience who, including myself, were still recovering from the prior funny lines. Kristen Wigg, along with all the actresses in this film, bring a hilarious and seemingly improvised story to the big screen in grand style. This is one of those comedies you don’t want to miss. I give this a 4 out of 5 star rating and will be back in the theater to see it again.
A failed baker now working in a jewelry shop, Annie is facing a crisis. She is in her thirties and no longer satisfied with “booty calls.” Rooming with two bizarre Brits, Annie also has to put up with a mother who is addicted to speaking at AA meetings yet has never had an alcoholic beverage. However Annie did get the job working in a jewelry store as a favor provided by an AA member that her mother sponsors. Will this wedding be the end of the mess she’s made of her life, or will she continue down this pathetic path?
Meanwhile, Lillian, who is marrying a very wealthy man, has become close friends with Helen (Rose Byrne), the wife of her fiance’s boss. When Annie and Helen meet at the engagement party, tension arises and a battle ensues over the microphone to see who can give the bride the best speech. Annie feels threatened by Lillian’s new “best friend” and declares war against Helen. Her first move is a bridesmaids’ brunch at a sketchy Brazilian restaurant with highly uncomfortable results. Unfortunately the results don’t reveal themselves until Lillian, Hellen, Annie and bridesmaids Megan, Rita and Becca (Melissa McCarthy,Wendi McLendon-Covey and Elli Kemper) are in the middle of trying on bridesmaids dresses in a very swanky high-end bridal shop.
This and other unfortunate bridal mishaps that drive “Bridesmaids” are the products of the writing collaboration of Kristen Wigg and Annie Mumolo (who can be seen in a plane scene as the nervous neighbor). Directed by Paul Feig, “Bridesmaids” is this year’s “Hangover” for women. It is great to finally see a raunchy rom-com that does not leave any room for a dull moment. Some of the funny dialogue was drowned out by the audience who, including myself, were still recovering from the prior funny lines. Kristen Wigg, along with all the actresses in this film, bring a hilarious and seemingly improvised story to the big screen in grand style. This is one of those comedies you don’t want to miss. I give this a 4 out of 5 star rating and will be back in the theater to see it again.
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