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I Saw the Light: The Story of Hank Williams - Now a Major Motion Picture Starring Tom Hiddleston as Hank Williams
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In his brief life, Hank Williams created one of the defining bodies of American music. Songs like...
100 Animated Feature Films
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Twenty years ago, animated features were widely perceived as cartoons for children. Today, though,...
Phillip McSween (751 KP) rated 1917 (2020) in Movies
Oct 25, 2020
Full Ride of Intensity
Set during WWI, two British soldiers are tasked with getting an important message across enemy territory. 1917 is a wall-to-wall thrill ride done in a one-shot fashion that is amazingly unforgettable.
Acting: 10
George Mackay is brilliant as Lance Corporal Schofield. He takes you through the entirety of this journey as a man reluctant to accept the fate that’s befallen him. His showcase of fear in the face of danger is really what drives the intensity of this movie.
Beginning: 9
Not the best first ten minutes of action, but a decent setup nonetheless. I was immediately drawn into this wartorn world and was curious to see what would happen next. Not perfect, but it’s definitely full speed ahead from here.
Characters: 10
Cinematography/Visuals: 10
Conflict: 10
Entertainment Value: 10
Memorability: 10
Pace: 10
There is such a quiet intensity here that drives the pace of the story. Even when shots aren’t being fired, I couldn’t help but be on the edge of my seat. With danger around every single turn, the pace is phenomenal.
Plot: 10
The story is straightforward with a clear objective. Where the plot wins is with a few unexpected turns that throw you off course. Not to mention to be able to do all of this in a set of one shots is remarkable.
Resolution: 10
Overall: 99
1917 touts beautiful imagery seeped in a mountain of dread. There is a scene where the protagonists are wading through heaps of dead bodies that really sets the stage for how harrowing the film is throughout. As war movies go, this one is definitely the most unique.
Acting: 10
George Mackay is brilliant as Lance Corporal Schofield. He takes you through the entirety of this journey as a man reluctant to accept the fate that’s befallen him. His showcase of fear in the face of danger is really what drives the intensity of this movie.
Beginning: 9
Not the best first ten minutes of action, but a decent setup nonetheless. I was immediately drawn into this wartorn world and was curious to see what would happen next. Not perfect, but it’s definitely full speed ahead from here.
Characters: 10
Cinematography/Visuals: 10
Conflict: 10
Entertainment Value: 10
Memorability: 10
Pace: 10
There is such a quiet intensity here that drives the pace of the story. Even when shots aren’t being fired, I couldn’t help but be on the edge of my seat. With danger around every single turn, the pace is phenomenal.
Plot: 10
The story is straightforward with a clear objective. Where the plot wins is with a few unexpected turns that throw you off course. Not to mention to be able to do all of this in a set of one shots is remarkable.
Resolution: 10
Overall: 99
1917 touts beautiful imagery seeped in a mountain of dread. There is a scene where the protagonists are wading through heaps of dead bodies that really sets the stage for how harrowing the film is throughout. As war movies go, this one is definitely the most unique.
Kirk Bage (1775 KP) rated The Draughtsman's Contract (1982) in Movies
Jan 28, 2021
Quite often more interesting in theory than practice, the films of Peter Greenaway can be inaccessible, oppressive and pretentious in the worst way. He himself would say his work is half film, half art, without apologising for it, and why should he? Looking at his CV, I can say there have been some I have enjoyed, or at least marvelled at: The Cook, The Thief, His Wife and Her Lover being the obvious one. Drowning by Numbers being another – ambitious and ingenious constructions that are startlingly effective if in the mood for such conceits. Whereas things like Prospero’s Books and The Pillow Book cross the line of pomposity and pretentiousness just too far. So it was with trepidation I approached this one, expecting that the wigs and costumes would far outshine the content of the story. I was quite wrong.
The Draughtsman’s Contract is still difficult to engage with, especially on first viewing, as the plot is dense and often hidden within the trivialities, as it unfolds, however, it becomes an ingenious murder mystery with all the clues hidden in plain sight under the artifice of surface detail. The things that are happening are not the story, the story is underneath, much as the real humanity of these people is hidden under ostentatious wigs and skirts. Familiar British actors of the time such as Anthony Higgins, Janet Suzman and Hugh Fraser serve Greenaway as consummate storytellers in a borderline theatre style throughout. It shouldn’t work or be half as compelling as it is, but there is magic at work here of some kind. Unique and marvelous if not always easy. But that is Greenaway!
The Draughtsman’s Contract is still difficult to engage with, especially on first viewing, as the plot is dense and often hidden within the trivialities, as it unfolds, however, it becomes an ingenious murder mystery with all the clues hidden in plain sight under the artifice of surface detail. The things that are happening are not the story, the story is underneath, much as the real humanity of these people is hidden under ostentatious wigs and skirts. Familiar British actors of the time such as Anthony Higgins, Janet Suzman and Hugh Fraser serve Greenaway as consummate storytellers in a borderline theatre style throughout. It shouldn’t work or be half as compelling as it is, but there is magic at work here of some kind. Unique and marvelous if not always easy. But that is Greenaway!
The Survivors
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Jane Harper is one of Australia's most loved and successful authors and The Survivors is her latest...
Bob Mann (459 KP) rated The Nutcracker and the Four Realms (2018) in Movies
Sep 28, 2021
A fantasy that’s glossy and beautiful to look at.
Before the heavyweight juggernaut of “Mary Poppins Returns” arrives at Christmas, here’s another Disney live action feature to get everyone in the festive spirit.
The Plot.
It’s Victorian London and Young Clara (Mackenzie Foy) lives with her father (Matthew Macfadyen), her older sister Louise (Ellie Bamber) and her younger brother Fritz (Tom Sweet). It’s Christmas and the family are having a hard time as they are grieving the recent death of wife and mother Marie (Anna Madeley). Like her mother, Clara has an astute mind with an engineering bias and is encouraged in this pursuit by her quirky inventor godfather, Drosselmeyer (Morgan Freeman). At his fabled Christmas ball, Clara asks for his help in accessing a gift Clara’s mother has bequeathed to her. This leads Clara on a magical adventure to a parallel world with four realms, where everything is not quite peace and harmony.
The Review.
This is a film that visually delights from the word go. The film opens with a swooping tour of Victorian London (who knew the Disney castle was in the capital’s suburbs?!) via Westminster bridge and into the Stahlbaum’s attic. It’s a spectacular tour-de-force of special-effects wizardry and sets up the expectation of what’s to come. For every scene that follows is a richly decorated feast for the eyes. Drosselmeyer’s party is a glorious event, full of extras, strong on costume design and with a rich colour palette as filmed by Linus Sandgren (“La La Land“). When we are pitched into the Four Realms – no wardrobe required – the magical visions continue.
The film represents a Narnia-esque take on the four compass-point lands of Oz, and on that basis it’s a bit formulaic. But the good vs evil angles are more subtley portrayed. Of the Four Realms leaders, Keira Knightley as Sugar Plum rather steals the show from the others (played by Richard E. Grant, Eugenio Derbez and Helen Mirren). Mirren in particular is given little to do.
What age kids would this be suitable for? Well, probably a good judge would be the Wizard of Oz. If your kids are not completely freaked out by the Wicked Witch of the West and the flying monkeys, then they will probably cope OK with the scary bits of the “Realm of Entertainment”. Although those who suffer from either musophobia or (especially) coulrophobia might want to give it a miss! All kids are different though, and the “loss of the mother” is also an angle to consider: that might worry and upset young children. It is definitely a “PG” certificate rather than a “U” certificate.
Young people who also enjoy ballet (I nearly fell into a sexist trap there!) will also get a kick out of some of the dance sequences, which are “Fantasia-esque” in their presentation and feature Misty Copeland, famously the first African American Female Principal Dancer with the American Ballet Theatre. (I have no appreciation at all for ballet, but I’m sure it was brilliant!)
As for the moral tone of the film, the female empowerment message is rather ladled on with a trowel, but as it’s a good message I have no great problem with that. I am often appalled at how lacking in confidence young people are in their own abilities. Here is a young lady (an engineer!) learning self-resilience and the confidence to be able to do anything in life she puts her mind to. Well said.
The story is rather generic – child visits a magical other world – but the screenplay is impressive given its the first-feature screenplay for Ashleigh Powell: there is an article on her approach to screenwriting that you might find interesting here.
The film is credited with two directors. This – particularly if there is also an army of screenwriters – is normally a warning sign on a film. (As a case in point, the chaotic 1967 version of “Casino Royale” had six different directors, and it shows!). Here, there clearly were issues with the filming since Disney insisted on reshoots for which the original director, Lasse Hallström, was not available. This is where the “Captain America” director Joe Johnston stepped in.
The turns.
I really enjoyed Mackenzie Foy‘s performance as Clara. Now 18, she is a feisty and believable Disney princess for the modern age. (If, like me, you are struggling to place where you’ve heard her name before, she was the young Murph in Nolan’s “Interstellar“).
Another name I was struggling with was Ellie Bamber as her sister. Ellie was excellent in the traumatic role of the daughter in the brilliant “Nocturnal Animals“, one of my favourite films of 2016. (Hopefully the therapy has worked and Ellie can sleep at night again!).
A newcomer with a big role is Jayden Fowora-Knight as the Nutcracker soldier: Jayden had a bit part in “Ready Player One” but does a great job here in a substantial role in the film. He stands out as a black actor in a Disney feature: notwithstanding the Finn character in “Star Wars”, this is a long-overdue and welcome approach from Disney.
British comedians Omid Djalili and Jack Whitehouse turn up to add some light relief, but the humour seems rather forced and not particularly fitting.
Final thoughts
I wasn’t expecting to enjoy this one much, but I did. Prinicipally because it is such a visual feast and worth going to see just for that alone: I have a prediction that this film will be nominated for production design, costume design and possible special effects.
I think kids of the right age – I would have thought 6 to 10 sort of range – will enjoy this a lot, particularly if they like dance. Young girls in particular will most relate to the lead character. For such kids, I’d rate this a 4*. The rating below reflects my rating as an adult: so I don’t think ‘drag-a-long’ parents in the Christmas holidays (if it is still on by then) will not be totally bored.
The Plot.
It’s Victorian London and Young Clara (Mackenzie Foy) lives with her father (Matthew Macfadyen), her older sister Louise (Ellie Bamber) and her younger brother Fritz (Tom Sweet). It’s Christmas and the family are having a hard time as they are grieving the recent death of wife and mother Marie (Anna Madeley). Like her mother, Clara has an astute mind with an engineering bias and is encouraged in this pursuit by her quirky inventor godfather, Drosselmeyer (Morgan Freeman). At his fabled Christmas ball, Clara asks for his help in accessing a gift Clara’s mother has bequeathed to her. This leads Clara on a magical adventure to a parallel world with four realms, where everything is not quite peace and harmony.
The Review.
This is a film that visually delights from the word go. The film opens with a swooping tour of Victorian London (who knew the Disney castle was in the capital’s suburbs?!) via Westminster bridge and into the Stahlbaum’s attic. It’s a spectacular tour-de-force of special-effects wizardry and sets up the expectation of what’s to come. For every scene that follows is a richly decorated feast for the eyes. Drosselmeyer’s party is a glorious event, full of extras, strong on costume design and with a rich colour palette as filmed by Linus Sandgren (“La La Land“). When we are pitched into the Four Realms – no wardrobe required – the magical visions continue.
The film represents a Narnia-esque take on the four compass-point lands of Oz, and on that basis it’s a bit formulaic. But the good vs evil angles are more subtley portrayed. Of the Four Realms leaders, Keira Knightley as Sugar Plum rather steals the show from the others (played by Richard E. Grant, Eugenio Derbez and Helen Mirren). Mirren in particular is given little to do.
What age kids would this be suitable for? Well, probably a good judge would be the Wizard of Oz. If your kids are not completely freaked out by the Wicked Witch of the West and the flying monkeys, then they will probably cope OK with the scary bits of the “Realm of Entertainment”. Although those who suffer from either musophobia or (especially) coulrophobia might want to give it a miss! All kids are different though, and the “loss of the mother” is also an angle to consider: that might worry and upset young children. It is definitely a “PG” certificate rather than a “U” certificate.
Young people who also enjoy ballet (I nearly fell into a sexist trap there!) will also get a kick out of some of the dance sequences, which are “Fantasia-esque” in their presentation and feature Misty Copeland, famously the first African American Female Principal Dancer with the American Ballet Theatre. (I have no appreciation at all for ballet, but I’m sure it was brilliant!)
As for the moral tone of the film, the female empowerment message is rather ladled on with a trowel, but as it’s a good message I have no great problem with that. I am often appalled at how lacking in confidence young people are in their own abilities. Here is a young lady (an engineer!) learning self-resilience and the confidence to be able to do anything in life she puts her mind to. Well said.
The story is rather generic – child visits a magical other world – but the screenplay is impressive given its the first-feature screenplay for Ashleigh Powell: there is an article on her approach to screenwriting that you might find interesting here.
The film is credited with two directors. This – particularly if there is also an army of screenwriters – is normally a warning sign on a film. (As a case in point, the chaotic 1967 version of “Casino Royale” had six different directors, and it shows!). Here, there clearly were issues with the filming since Disney insisted on reshoots for which the original director, Lasse Hallström, was not available. This is where the “Captain America” director Joe Johnston stepped in.
The turns.
I really enjoyed Mackenzie Foy‘s performance as Clara. Now 18, she is a feisty and believable Disney princess for the modern age. (If, like me, you are struggling to place where you’ve heard her name before, she was the young Murph in Nolan’s “Interstellar“).
Another name I was struggling with was Ellie Bamber as her sister. Ellie was excellent in the traumatic role of the daughter in the brilliant “Nocturnal Animals“, one of my favourite films of 2016. (Hopefully the therapy has worked and Ellie can sleep at night again!).
A newcomer with a big role is Jayden Fowora-Knight as the Nutcracker soldier: Jayden had a bit part in “Ready Player One” but does a great job here in a substantial role in the film. He stands out as a black actor in a Disney feature: notwithstanding the Finn character in “Star Wars”, this is a long-overdue and welcome approach from Disney.
British comedians Omid Djalili and Jack Whitehouse turn up to add some light relief, but the humour seems rather forced and not particularly fitting.
Final thoughts
I wasn’t expecting to enjoy this one much, but I did. Prinicipally because it is such a visual feast and worth going to see just for that alone: I have a prediction that this film will be nominated for production design, costume design and possible special effects.
I think kids of the right age – I would have thought 6 to 10 sort of range – will enjoy this a lot, particularly if they like dance. Young girls in particular will most relate to the lead character. For such kids, I’d rate this a 4*. The rating below reflects my rating as an adult: so I don’t think ‘drag-a-long’ parents in the Christmas holidays (if it is still on by then) will not be totally bored.
Bob Mann (459 KP) rated Sweetheart (2021) in Movies
Sep 20, 2021
Great ensemble cast (1 more)
Sensitive and moving writing by Marley Morrison
A Gregory's Girl for the 21st Century
When I was in my late teen's, Bill Forsyth's "Gregory's Girl" perfectly epitomised the angst of the school years' emotions I'd left behind me. And I was very much heterosexual. With "Sweetheart", Marley Morrison in an astonishing feature debut delivers a "Gregory's Girl" for today's much more sexually fluid times.
Positives:
- What a great ensemble cast! It's all headed up by Nell Barlow, amazingly in her feature debut. Nell manages to perfectly deliver the hair-pullingly frustrating unpredictability of a teenage girl: always planning to go off doing something worthy like "knitting jumpers for elephants in Indonesia". But she manages to keep the portrayal just the right side of parody, not straying into 'Kevin and Perry' territory. "What's wrong with you?" asks her mother. "I'm 17. Everything's wrong with me" she replies. It's an immaculate performance for someone so young.
- Jo Hartley is also fabulous as A. J.'s mum, a lost soul struggling with her own worries, without having those of AJ to add to them. It's not portrayed as a typical 'Mum v Teen' battle, but beautifully nuanced. "Just because you're a lesbian now, it doesn't mean you have to dress like a boy" she pleads with A. J.
- If you're trying to place her, Ella Rae-Smith was the striking girl in the baseball cap in Netflix's "The Stranger". She is also wonderful here, as the 'hot girl' who you think has it all but is underneath deeply troubled and conflicted. A sex scene (beautifully lit and filmed by Emily Almond Barr and Matthew Wicks) manages to show absolutely nothing but is deliciously erotic as a result.
- The writing by Marley Morrison feels very autobiographical. And, as I found through reading this Guardian article about Morrison's gender-journey, there is a lot of personal experience in here. It's clever that the film is claustrophobically set in the remote holiday park (actually the real Freshwater Beach Holiday Park near Bridport on the Dorset coast). If it had been set in a big city like London, AJ could have constantly fled from her feelings, never resolving them. Here, she is constantly running into Isla.... there is no escape.
- I also very much liked the relationship written between A. J. and Steve. Steve is almost the safety valve on the pressure cooker, always helpfully allowing some steam to escape. It adds warmth to the story.
- For such an indie picture, there's a range of great tunes on the soundtrack: mostly from bands I have never heard of (probably making it affordable). I'm not sure if there's to be a soundtrack album released, but it's worth a listen if so.
Negatives:
- I wasn't fond of the sound mix on the film. Some of the dialogue was indistinct.
- A. J. gives us an occasional running commentary of her thoughts as a voiceover. Regular readers of my blog will know my thoughts on this subject! I'm not sure if it added much to the story: a 'show-not-tell' approach would have been my preference.
Summary Thoughts on "Sweetheart": I likened this film to 1980's "Gregory's Girl", and that's a great compliment. That movie made stars out of John Gordon Sinclair and Clare Grogan. I'd predict similar great things for Nell Barlow, Ella Rae-Smith and particularly for writer/director Marley Morrison. I'll very much look forward to Marley's future projects.
It's a cracking little British film. It deserves a major cinema release, but I suspect this is one that you might need to hunt out at your less mainstream cinemas. But please do so - it's well worth it. Very much recommended.
(For the full graphical review and video, check out #onemannsmovies on the web, Facebook and Tiktok. Thanks.)
Positives:
- What a great ensemble cast! It's all headed up by Nell Barlow, amazingly in her feature debut. Nell manages to perfectly deliver the hair-pullingly frustrating unpredictability of a teenage girl: always planning to go off doing something worthy like "knitting jumpers for elephants in Indonesia". But she manages to keep the portrayal just the right side of parody, not straying into 'Kevin and Perry' territory. "What's wrong with you?" asks her mother. "I'm 17. Everything's wrong with me" she replies. It's an immaculate performance for someone so young.
- Jo Hartley is also fabulous as A. J.'s mum, a lost soul struggling with her own worries, without having those of AJ to add to them. It's not portrayed as a typical 'Mum v Teen' battle, but beautifully nuanced. "Just because you're a lesbian now, it doesn't mean you have to dress like a boy" she pleads with A. J.
- If you're trying to place her, Ella Rae-Smith was the striking girl in the baseball cap in Netflix's "The Stranger". She is also wonderful here, as the 'hot girl' who you think has it all but is underneath deeply troubled and conflicted. A sex scene (beautifully lit and filmed by Emily Almond Barr and Matthew Wicks) manages to show absolutely nothing but is deliciously erotic as a result.
- The writing by Marley Morrison feels very autobiographical. And, as I found through reading this Guardian article about Morrison's gender-journey, there is a lot of personal experience in here. It's clever that the film is claustrophobically set in the remote holiday park (actually the real Freshwater Beach Holiday Park near Bridport on the Dorset coast). If it had been set in a big city like London, AJ could have constantly fled from her feelings, never resolving them. Here, she is constantly running into Isla.... there is no escape.
- I also very much liked the relationship written between A. J. and Steve. Steve is almost the safety valve on the pressure cooker, always helpfully allowing some steam to escape. It adds warmth to the story.
- For such an indie picture, there's a range of great tunes on the soundtrack: mostly from bands I have never heard of (probably making it affordable). I'm not sure if there's to be a soundtrack album released, but it's worth a listen if so.
Negatives:
- I wasn't fond of the sound mix on the film. Some of the dialogue was indistinct.
- A. J. gives us an occasional running commentary of her thoughts as a voiceover. Regular readers of my blog will know my thoughts on this subject! I'm not sure if it added much to the story: a 'show-not-tell' approach would have been my preference.
Summary Thoughts on "Sweetheart": I likened this film to 1980's "Gregory's Girl", and that's a great compliment. That movie made stars out of John Gordon Sinclair and Clare Grogan. I'd predict similar great things for Nell Barlow, Ella Rae-Smith and particularly for writer/director Marley Morrison. I'll very much look forward to Marley's future projects.
It's a cracking little British film. It deserves a major cinema release, but I suspect this is one that you might need to hunt out at your less mainstream cinemas. But please do so - it's well worth it. Very much recommended.
(For the full graphical review and video, check out #onemannsmovies on the web, Facebook and Tiktok. Thanks.)
Bob Mann (459 KP) rated Six Minutes to Midnight (2021) in Movies
Apr 4, 2021 (Updated Apr 4, 2021)
Historical story (Potential for a great film) (1 more)
Judi Dench
B-grade spy caper antics (1 more)
Some ridiculous plot-points
A "39 Steps-esque" thriller that doesn't match its potential
In "Six Minutes to Midnight", it's the summer of 1939 (so we are in a parallel time-flow here with the events of "The Dig"). A private girl's school - the Augusta Victoria College in Bexhill-on-Sea - is run with loving care by the spinster Miss Rocholl (Judi Dench). But the 'finishing school' is unusual, in that all its teenage students are German. Indeed, they are the offspring of prominent Nazis.
When half-German English teacher Thomas Miller (Eddie Izzard) applies for a suddenly vacant position, he is taken on to share the teaching duties with Rocholl and Ilse (Carla Juri). But in snooping into the activities going on there, he finds mystery and danger.
Positives:
This is a fascinating premise for a movie that will appeal to an older generation, along the lines of "They don't make them like this anymore". It has elements of the 'good guy on the run' that struck parallels with "The 39 Steps" for me.
It's great that the school is all based on historical fact. Miss Rochol did indeed run the school, as a part of a plan to infiltrate British high-society with pro-Nazi sympathies ahead of an invasion. In real-life, one of the pupils was the god-daughter of Heinrich Himmler and one - Bettina von Ribbentrop - was the daughter of the German foreign minister.
After a comic "Family Guy"-style set of production logos to kick off with (for a full one and a half minutes!!), the pre-title sequence is a superb scene-setter. What exactly is going on here? A frantic scrabbling in a bookcase. A pier-end disappearance. The school badge (a genuine reproduction!) with its Union flag and Nazi Swastika insignia. The girls performing a ballet-like ritual on the beach with batons. (This looks to be a cracker, I thought).
Judi Dench. Superb as always.
Chris Seager does the cinematography, and impressively so. Most of Seager's CV has been TV work, so it must be delightful to be given the breadth of a cinema screen to capture landscapes like this.
I like the clever title: "Six Minutes to Midnight". I assumed it was intended solely to reflect the imminence of war. But it actually has another meaning entirely.
Negatives:
For me, was a highly frustrating film. All of the great credibility and atmosphere it builds up in the first 30 minutes, it then squanders by diving off into sub-Hitchcock spy capers.
Izzard becomes a 'man on the run', and doesn't seem credible at that. (I appreciate the irony of this statement given that this is the man who ran 32 marathons in 31 days for charity!) But Izzard is built for distance and not for speed, and some of the police chase scenes in the movie strain credibility to breaking point. Another actor might have been able to pull this off better.
There's a lack of continuity in the film: was it perhaps cut down from a much longer running time? At one point, Miller is a wanted murderer with his face plastered on the front pages. The next, kindly bus driver Charlie (Jim Broadbent) is unaccountably aiding him and Rochol seems to have assumed his innocence in later scenes.
Various spy caper clichés are mined to extreme - including those old classics 'swerve to avoid bullets'; 'gun shot but different gun'; and 'shot guy seems to live forever'. And there are double-agent 'twists' occurring that are utterly predictable.
A very specific continuity irritation for me was in an 'aircraft landing' scene. Markers are separated by nine paces (I went back and counted them!) yet a view from a plane shows them a 'runway-width' apart. This might have escaped scrutiny were it shown just once. But no... we have ground shot; air shot; ground shot; air shot..... repeatedly!
Summary thoughts: This was one of the cinema trailers that most appealed to me over a year ago, in those heady days in the sunlit-uplands of life before Covid-19. It's a movie that showed a great deal of promise, since the history is fascinating. And there is probably a really great TV serial in here: showing the 'alternate history' consequences of these high-society German girls penetrating British society and steering the war in a different direction (screenplay idea (C) RJ Mann!) But the potential is squandered with a non-credible spy caper bolted onto the side.
So with "Six Minutes to Midnight", Downton-director Andy Goddard has made a perfectly watchable 'rainy Sunday afternoon' film, that I enjoyed in part for its 'old-school' quirkiness. But it's frustrating that all the promise couldn't be transitioned into a more satisfying movie.
(For the full graphical review, please check out the One Mann's Movies review here https://bob-the-movie-man.com/2021/04/04/six-minutes-to-midnight-a-39-steps-esque-thriller-but-not-quite-pulling-it-off/. Thanks).
When half-German English teacher Thomas Miller (Eddie Izzard) applies for a suddenly vacant position, he is taken on to share the teaching duties with Rocholl and Ilse (Carla Juri). But in snooping into the activities going on there, he finds mystery and danger.
Positives:
This is a fascinating premise for a movie that will appeal to an older generation, along the lines of "They don't make them like this anymore". It has elements of the 'good guy on the run' that struck parallels with "The 39 Steps" for me.
It's great that the school is all based on historical fact. Miss Rochol did indeed run the school, as a part of a plan to infiltrate British high-society with pro-Nazi sympathies ahead of an invasion. In real-life, one of the pupils was the god-daughter of Heinrich Himmler and one - Bettina von Ribbentrop - was the daughter of the German foreign minister.
After a comic "Family Guy"-style set of production logos to kick off with (for a full one and a half minutes!!), the pre-title sequence is a superb scene-setter. What exactly is going on here? A frantic scrabbling in a bookcase. A pier-end disappearance. The school badge (a genuine reproduction!) with its Union flag and Nazi Swastika insignia. The girls performing a ballet-like ritual on the beach with batons. (This looks to be a cracker, I thought).
Judi Dench. Superb as always.
Chris Seager does the cinematography, and impressively so. Most of Seager's CV has been TV work, so it must be delightful to be given the breadth of a cinema screen to capture landscapes like this.
I like the clever title: "Six Minutes to Midnight". I assumed it was intended solely to reflect the imminence of war. But it actually has another meaning entirely.
Negatives:
For me, was a highly frustrating film. All of the great credibility and atmosphere it builds up in the first 30 minutes, it then squanders by diving off into sub-Hitchcock spy capers.
Izzard becomes a 'man on the run', and doesn't seem credible at that. (I appreciate the irony of this statement given that this is the man who ran 32 marathons in 31 days for charity!) But Izzard is built for distance and not for speed, and some of the police chase scenes in the movie strain credibility to breaking point. Another actor might have been able to pull this off better.
There's a lack of continuity in the film: was it perhaps cut down from a much longer running time? At one point, Miller is a wanted murderer with his face plastered on the front pages. The next, kindly bus driver Charlie (Jim Broadbent) is unaccountably aiding him and Rochol seems to have assumed his innocence in later scenes.
Various spy caper clichés are mined to extreme - including those old classics 'swerve to avoid bullets'; 'gun shot but different gun'; and 'shot guy seems to live forever'. And there are double-agent 'twists' occurring that are utterly predictable.
A very specific continuity irritation for me was in an 'aircraft landing' scene. Markers are separated by nine paces (I went back and counted them!) yet a view from a plane shows them a 'runway-width' apart. This might have escaped scrutiny were it shown just once. But no... we have ground shot; air shot; ground shot; air shot..... repeatedly!
Summary thoughts: This was one of the cinema trailers that most appealed to me over a year ago, in those heady days in the sunlit-uplands of life before Covid-19. It's a movie that showed a great deal of promise, since the history is fascinating. And there is probably a really great TV serial in here: showing the 'alternate history' consequences of these high-society German girls penetrating British society and steering the war in a different direction (screenplay idea (C) RJ Mann!) But the potential is squandered with a non-credible spy caper bolted onto the side.
So with "Six Minutes to Midnight", Downton-director Andy Goddard has made a perfectly watchable 'rainy Sunday afternoon' film, that I enjoyed in part for its 'old-school' quirkiness. But it's frustrating that all the promise couldn't be transitioned into a more satisfying movie.
(For the full graphical review, please check out the One Mann's Movies review here https://bob-the-movie-man.com/2021/04/04/six-minutes-to-midnight-a-39-steps-esque-thriller-but-not-quite-pulling-it-off/. Thanks).
Movie Metropolis (309 KP) rated Kingsman: The Secret Service (2015) in Movies
Jun 10, 2019
Simply Brilliant
Director Matthew Vaughn has brought some visually striking films to the big screen in his fairly short career, from the brilliant Layer Cake, to the movie which many credit as saving the X-Men franchise, First Class, he certainly knows his way around a camera.
However, Kingsman: The Secret Service is probably his riskiest proposition yet. Can a dark comedy about upper-class British spies with their tailor-made suits compete with the very best films in the genre?
Thankfully the answer is a resounding yes. The spectacular cinematography and fantastic performances in Kingsman ensure it is one of the most memorable and cleverly crafted blockbusters of the last decade.
The film follows the story of underprivileged Eggsy, played wonderfully by Taron Egerton in his first full role, as he does his best to join The Kingsmen, a secret society of spies working to bring down evil in the world.
An absolutely marvellous Colin Firth and a slightly underused Michael Caine also play part of this group – possibly creating the poshest ensemble of characters seen in a film for years.
Naturally a spy flick isn’t complete without a villain and Samuel L Jackson is on course here to become one of the cheesiest megalomaniacs ever put to the big screen. His deliberately camp performance goes well with the dark humour throughout.
Kingsman is also genuinely funny and a real treat to watch with explosive, over-the-top visuals and beautiful scenery which utilises what the world has to offer rather than delving into the CGI drawer many directors employ nowadays.
It all feels decidedly old fashioned and all the better for it with an almost grainy quality to the production – think The Avengers TV series but with a higher budget.
The plot is top notch and whilst it may border on cliché at times, Kingsman manages to steer the story in enough directions to make sure the audience never settles into a rut, the use of our reliance on modern technology being a particular highlight.
Special effects wise, it holds up well with most other blockbusters and has just a few lapses in CGI at the start and towards the riveting finale,Taron_Egerton_SDCC_2014 though these are barely noticeable if you’re not looking hard enough.
Moreover, it is a true pleasure to sit in a film and not wonder what the producers had to cut to achieve a crowd-pleasing 12A certification. Kingsman pulls no punches, this is a violent rollercoaster ride and well deserves the BBFC 15 rating it has been given. Whether or not this hurts its box-office performance remains to be seen.
Overall, Kingsman: The Secret Service is one of the only films which combines the ever-popular spy genre with comedy and manages to keep its dignity in tact as the end credits role.
So many films, Johnny English: Reborn and Get Smart to name a couple, simply delve into slapstick territory once the writers run out of ideas – this isn’t the case here.
From its exciting plot and brutally dark humour, to the engaging performances from every single character, Kingsman: The Secret Service is simply brilliant.
https://moviemetropolis.net/2015/01/30/simply-brilliant-kingsman-the-secret-service-review/
However, Kingsman: The Secret Service is probably his riskiest proposition yet. Can a dark comedy about upper-class British spies with their tailor-made suits compete with the very best films in the genre?
Thankfully the answer is a resounding yes. The spectacular cinematography and fantastic performances in Kingsman ensure it is one of the most memorable and cleverly crafted blockbusters of the last decade.
The film follows the story of underprivileged Eggsy, played wonderfully by Taron Egerton in his first full role, as he does his best to join The Kingsmen, a secret society of spies working to bring down evil in the world.
An absolutely marvellous Colin Firth and a slightly underused Michael Caine also play part of this group – possibly creating the poshest ensemble of characters seen in a film for years.
Naturally a spy flick isn’t complete without a villain and Samuel L Jackson is on course here to become one of the cheesiest megalomaniacs ever put to the big screen. His deliberately camp performance goes well with the dark humour throughout.
Kingsman is also genuinely funny and a real treat to watch with explosive, over-the-top visuals and beautiful scenery which utilises what the world has to offer rather than delving into the CGI drawer many directors employ nowadays.
It all feels decidedly old fashioned and all the better for it with an almost grainy quality to the production – think The Avengers TV series but with a higher budget.
The plot is top notch and whilst it may border on cliché at times, Kingsman manages to steer the story in enough directions to make sure the audience never settles into a rut, the use of our reliance on modern technology being a particular highlight.
Special effects wise, it holds up well with most other blockbusters and has just a few lapses in CGI at the start and towards the riveting finale,Taron_Egerton_SDCC_2014 though these are barely noticeable if you’re not looking hard enough.
Moreover, it is a true pleasure to sit in a film and not wonder what the producers had to cut to achieve a crowd-pleasing 12A certification. Kingsman pulls no punches, this is a violent rollercoaster ride and well deserves the BBFC 15 rating it has been given. Whether or not this hurts its box-office performance remains to be seen.
Overall, Kingsman: The Secret Service is one of the only films which combines the ever-popular spy genre with comedy and manages to keep its dignity in tact as the end credits role.
So many films, Johnny English: Reborn and Get Smart to name a couple, simply delve into slapstick territory once the writers run out of ideas – this isn’t the case here.
From its exciting plot and brutally dark humour, to the engaging performances from every single character, Kingsman: The Secret Service is simply brilliant.
https://moviemetropolis.net/2015/01/30/simply-brilliant-kingsman-the-secret-service-review/
BankofMarquis (1832 KP) rated Widows (2018) in Movies
Nov 17, 2018
Well crafted, well acted, well directed heist flick
If you are looking for a smart, intelligent, well-made, well-crafted, well-acted action-heist flick to see with the family over the Thanksgiving weekend, then look no further than WIDOWS.
Yes, it's that good.
Based on a 1983 British TV mini-series, Directed by Steve McQueen (12 YEARS A SLAVE) and with a Screenplay by McQueen and Gillian Flynn (GONE GIRL), WIDOWS tells the story of 4...yes...Widows who's husbands were mobsters that were killed while stealing money from other mobsters. When the rival mob comes to the Widows to get their money back, these women must band together to complete a job to get the money to save their lives.
Leading this disparate group of women is Oscar winner (for FENCES) Viola Davis. She brings a strength and vulnerability to her role and makes a surprisingly complex and charismatic center to this film. Joining her is the always tough and gritty Michelle Rodriguez and the eminently watchable Carrie Coon. The surprise performance of this group of widows is Elizabeth Debicki (the golden Ayesha in GUARDIANS OF THE GALAXY 2). Her widow, Alice, is more than just the "good-looking" trophy wife and has a depth and gravitas that upon first glance is not something that seems to be there. These 4 are joined by Cynthia Erivo and their group could probably kick the crap out of the Ocean's 8 crew.
McQueen has assembled a diverse and interesting cast to support these 5 - each "smaller" role filled with someone who brings something to the table that makes their character interesting. Liam Neeson, Robert Duvall, Collin Farrell, the always watchable Garrett Dillahunt and Jackie Weaver fill the film with "screen presence", power and strong characterizations that service the story. Special notice should be made for Daniel Kaluuya (Oscar nominated for GET OUT). His menacing "bad guy" ranks right up there on the list of "dudes you don't want to mess with". He was fascinating to watch - especially when he was doing "nothing" - you could see the animal swimming within him in the most still of moments.
All of these actors are directed with the Orchestral efficiency of McQueen - a director who knows what he's doing. He keeps the focus of his cameras where he needs to, sometimes eschewing the most obvious action to focus our attention elsewhere. The downside to McQueen is that he sometimes gets enamored with his beautiful pictures and atmosphere, so the film gets bogged down at times - especially in the first half - but all of this is in service to the larger story - a story that demands our attention.
The screenplay by McQueen and Flynn is full of plot twists and turns, of course, keeping you guessing throughout and concludes in a most satisfactory manner.
All in all a very fine time at the Cineplex. In this week of a myriad of items competing for your movie-going dollars, I would strongly recommend that you pick WIDOWS out of the pile and settle in for a good time..
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
Yes, it's that good.
Based on a 1983 British TV mini-series, Directed by Steve McQueen (12 YEARS A SLAVE) and with a Screenplay by McQueen and Gillian Flynn (GONE GIRL), WIDOWS tells the story of 4...yes...Widows who's husbands were mobsters that were killed while stealing money from other mobsters. When the rival mob comes to the Widows to get their money back, these women must band together to complete a job to get the money to save their lives.
Leading this disparate group of women is Oscar winner (for FENCES) Viola Davis. She brings a strength and vulnerability to her role and makes a surprisingly complex and charismatic center to this film. Joining her is the always tough and gritty Michelle Rodriguez and the eminently watchable Carrie Coon. The surprise performance of this group of widows is Elizabeth Debicki (the golden Ayesha in GUARDIANS OF THE GALAXY 2). Her widow, Alice, is more than just the "good-looking" trophy wife and has a depth and gravitas that upon first glance is not something that seems to be there. These 4 are joined by Cynthia Erivo and their group could probably kick the crap out of the Ocean's 8 crew.
McQueen has assembled a diverse and interesting cast to support these 5 - each "smaller" role filled with someone who brings something to the table that makes their character interesting. Liam Neeson, Robert Duvall, Collin Farrell, the always watchable Garrett Dillahunt and Jackie Weaver fill the film with "screen presence", power and strong characterizations that service the story. Special notice should be made for Daniel Kaluuya (Oscar nominated for GET OUT). His menacing "bad guy" ranks right up there on the list of "dudes you don't want to mess with". He was fascinating to watch - especially when he was doing "nothing" - you could see the animal swimming within him in the most still of moments.
All of these actors are directed with the Orchestral efficiency of McQueen - a director who knows what he's doing. He keeps the focus of his cameras where he needs to, sometimes eschewing the most obvious action to focus our attention elsewhere. The downside to McQueen is that he sometimes gets enamored with his beautiful pictures and atmosphere, so the film gets bogged down at times - especially in the first half - but all of this is in service to the larger story - a story that demands our attention.
The screenplay by McQueen and Flynn is full of plot twists and turns, of course, keeping you guessing throughout and concludes in a most satisfactory manner.
All in all a very fine time at the Cineplex. In this week of a myriad of items competing for your movie-going dollars, I would strongly recommend that you pick WIDOWS out of the pile and settle in for a good time..
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)