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Bong Mines Entertainment (15 KP) rated Seven Dollar Paycheck by Arms Akimbo in Music
Jun 17, 2019
Arms Akimbo is a four-piece indie-rock band. Not too long ago, they released a heartfelt alternative tune, entitled, “Pitchfork”.
“I feel like the song is a letter to my band and my loved ones back home. I wanted to tell the people in my life that even though it’s not the easiest path that we’re on, it’s the right path and we’re not going to give up. We don’t play music because we want to. We play music because we have to. And, as we say in the song, ‘if we’re patient then we’ll make it eventually’.”
‘Pitchfork’ tells an interesting tale of a young musician who is out on the road, on tour in west New Mexico, very far away from a special woman who has his heart.
Apparently, it was hard for him to goodbye to her, and shortly after his departure, he felt that he had let her down. Her emotional wellbeing made him question if she will still want him when he returns home.
While on tour, he thinks about her text message which states how he always let love slip away. Deep down, he wishes she’s wrong about that statement.
Later, things aren’t the same and a tad bit quiet when they talk on the phone. Also, the thoughts of losing her and not fulfilling his musical goals scares him. But he remains patient and hopes that everything works out in his favor.
“I wrote ‘Pitchfork’ on a non-stop drive back to LA from Austin, Texas, after SXSW 2018. Facing the existential dread that comes with finishing a tour, I couldn’t help but think about the way that being a musician connects you with so many people while simultaneously being extremely isolating. Music is our form of communication to reach people who might be feeling the same way that we are and we use that to build a community. But functioning as a musician means being on the road and being away from the people that you care about. This dichotomy can be tough to balance.”
Arms Akimbo’s consists of Peter Schrupp (vocals, guitar), Chris Kalil (guitar, vocals), Matthew Sutton (drums), and Colin Boppell (bass).
They labeled their single ‘Pitchfork’ in reference to the lyrics at the end of the song.
The likable tune encourages those in the music industry to never give up. Also, it narrates the existential dread which comes with finishing a tour.
“The song was written in two parts, with the first section functioning almost like a tour diary, a vignette of our life on the road. The second part is more of a personal plea to my loved ones to stick by me on this journey. It’s also my attempt to explain why I have to play music and why it’s so deeply instilled into who I am.”
‘Pitchfork’ contains a relatable storyline, warm vocal tones, and summery instrumentation flavored with melodic guitars.
The song is featured on Arms Akimbo’s latest EP, entitled, “Seven Dollar Paycheck”.
https://www.bongminesentertainment.com/arms-akimbo-pitchfork/
“I feel like the song is a letter to my band and my loved ones back home. I wanted to tell the people in my life that even though it’s not the easiest path that we’re on, it’s the right path and we’re not going to give up. We don’t play music because we want to. We play music because we have to. And, as we say in the song, ‘if we’re patient then we’ll make it eventually’.”
‘Pitchfork’ tells an interesting tale of a young musician who is out on the road, on tour in west New Mexico, very far away from a special woman who has his heart.
Apparently, it was hard for him to goodbye to her, and shortly after his departure, he felt that he had let her down. Her emotional wellbeing made him question if she will still want him when he returns home.
While on tour, he thinks about her text message which states how he always let love slip away. Deep down, he wishes she’s wrong about that statement.
Later, things aren’t the same and a tad bit quiet when they talk on the phone. Also, the thoughts of losing her and not fulfilling his musical goals scares him. But he remains patient and hopes that everything works out in his favor.
“I wrote ‘Pitchfork’ on a non-stop drive back to LA from Austin, Texas, after SXSW 2018. Facing the existential dread that comes with finishing a tour, I couldn’t help but think about the way that being a musician connects you with so many people while simultaneously being extremely isolating. Music is our form of communication to reach people who might be feeling the same way that we are and we use that to build a community. But functioning as a musician means being on the road and being away from the people that you care about. This dichotomy can be tough to balance.”
Arms Akimbo’s consists of Peter Schrupp (vocals, guitar), Chris Kalil (guitar, vocals), Matthew Sutton (drums), and Colin Boppell (bass).
They labeled their single ‘Pitchfork’ in reference to the lyrics at the end of the song.
The likable tune encourages those in the music industry to never give up. Also, it narrates the existential dread which comes with finishing a tour.
“The song was written in two parts, with the first section functioning almost like a tour diary, a vignette of our life on the road. The second part is more of a personal plea to my loved ones to stick by me on this journey. It’s also my attempt to explain why I have to play music and why it’s so deeply instilled into who I am.”
‘Pitchfork’ contains a relatable storyline, warm vocal tones, and summery instrumentation flavored with melodic guitars.
The song is featured on Arms Akimbo’s latest EP, entitled, “Seven Dollar Paycheck”.
https://www.bongminesentertainment.com/arms-akimbo-pitchfork/
Emma @ The Movies (1786 KP) rated Tomorrow (2019) in Movies
Nov 7, 2019
The film had me at "brief strong sex" on the title card.
Tesla, a war veteran, struggles day to day being in the real world again. His loses weigh heavily on him and he hits rock bottom. A chance encounter with the over-friendly Sky leads him to new friends and new opportunities. Will he be able to see past his inner demons long enough to make a go of everything?
Firstly, someone at BBFC is leading a very sheltered life... moving on.
I had concerns going into this, Tomorrow was written by Stuart Brennan and Sebastian Street, if you're wondering why one of those sounds familiar it's because Stuart Brennan wrote Wolf (and directed, and produced and starred), I gave that 1.5 stars and I was one of the more generous viewers. You'll also spot the name Sebastian Street as he's playing the lead role of Tesla to Brennan's Sky.
I actually thought that Brennan did a great job as Sky. His storyline progressed at a much tougher rate than any of the other characters and his handling of it was surprisingly good.
Sebastian Street was in no way convincing. Tesla had an important point to make about disability and veterans but it felt more like he was acting in a bad soap opera than a film.
Unfortunately the downsides don't stop there, neither Stephanie Leonidas nor Sophie Kennedy Clark gave convincing portrayals, though I'm inclined to think that is more to do with the script. Tesla's love interest Katie, played by Leonidas, was a particularly hateful woman at times. I'm sure they were attempting to bring her on a learning curve about Tesla and his PTSD but there are moments that are entirely unbelievable. No one would be as oblivious as she was and I was genuinely annoyed by the fact he didn't tell her to take a hike then and there.
You'll also see on the cast list we have Stephen Fry, James Cosmo and Paul Kaye... I know! Cosmo gives a good performance but both Fry as Chris and Kaye as Milo felt like a let down. Neither character was well written and the tone really didn't fit the scenarios they were in. I have no idea why they went for the parts, I'm assuming bills.
While I felt there were a lot of issues with the film, many more than I listed, I was able to identify with part of the film and actually felt like they treated the subject with more respect than everything else was afforded. Because of that fact I'm giving Tomorrow a 2 star score, it deserves more than Wolf but I couldn't in good conscience recommend it to anyone. It's currently sitting at a 7 on IMDb which seems rather suspicious to me, the 29% on RT seems like a more accurate rating for this film.
What you should do
While I found something in this to latch onto there's not a lot to gain from seeing this.
Movie thing you wish you could take home
I've always wanted my own restaurant, so I'd have to go with that or Sky's adorable dog.
Tesla, a war veteran, struggles day to day being in the real world again. His loses weigh heavily on him and he hits rock bottom. A chance encounter with the over-friendly Sky leads him to new friends and new opportunities. Will he be able to see past his inner demons long enough to make a go of everything?
Firstly, someone at BBFC is leading a very sheltered life... moving on.
I had concerns going into this, Tomorrow was written by Stuart Brennan and Sebastian Street, if you're wondering why one of those sounds familiar it's because Stuart Brennan wrote Wolf (and directed, and produced and starred), I gave that 1.5 stars and I was one of the more generous viewers. You'll also spot the name Sebastian Street as he's playing the lead role of Tesla to Brennan's Sky.
I actually thought that Brennan did a great job as Sky. His storyline progressed at a much tougher rate than any of the other characters and his handling of it was surprisingly good.
Sebastian Street was in no way convincing. Tesla had an important point to make about disability and veterans but it felt more like he was acting in a bad soap opera than a film.
Unfortunately the downsides don't stop there, neither Stephanie Leonidas nor Sophie Kennedy Clark gave convincing portrayals, though I'm inclined to think that is more to do with the script. Tesla's love interest Katie, played by Leonidas, was a particularly hateful woman at times. I'm sure they were attempting to bring her on a learning curve about Tesla and his PTSD but there are moments that are entirely unbelievable. No one would be as oblivious as she was and I was genuinely annoyed by the fact he didn't tell her to take a hike then and there.
You'll also see on the cast list we have Stephen Fry, James Cosmo and Paul Kaye... I know! Cosmo gives a good performance but both Fry as Chris and Kaye as Milo felt like a let down. Neither character was well written and the tone really didn't fit the scenarios they were in. I have no idea why they went for the parts, I'm assuming bills.
While I felt there were a lot of issues with the film, many more than I listed, I was able to identify with part of the film and actually felt like they treated the subject with more respect than everything else was afforded. Because of that fact I'm giving Tomorrow a 2 star score, it deserves more than Wolf but I couldn't in good conscience recommend it to anyone. It's currently sitting at a 7 on IMDb which seems rather suspicious to me, the 29% on RT seems like a more accurate rating for this film.
What you should do
While I found something in this to latch onto there's not a lot to gain from seeing this.
Movie thing you wish you could take home
I've always wanted my own restaurant, so I'd have to go with that or Sky's adorable dog.
Emma @ The Movies (1786 KP) rated The Witches (2020) in Movies
Mar 14, 2021
Well, here we are... I'm not really sure I remember the original, but I suspect that's a bit of a blessing.
When a young boy encounters a strange and frightening woman his grandmother tells him about the existence of witches. In an attempt to hide from the woman, they take a trip that accidentally drops them in the middle of a witch convention led by the Grand High Witch.
At 1 hour 46 the witches feels like a short film to watch, but on reflection that runtime seems incredibly long for what was actually presented. The opening feels long, while somehow empty. There's obviously a need to get the backstory out, but I'm not sure I enjoyed the Chris Rock voiceover combined with the condensed story from Grandma.
I don't think there's a whole lot to grumble about with the storyline, witches exist, they hate children, plan to obliterate them all... blah blah blah. While I'm not entirely convinced there's a place for some of Roald Dahl's stories these days, but this sort of kids in peril and magic plots are fairly easy ones to get along with.
I love seeing Octavia Spencer in things, though I refuse to accept her as a grandmother. There were some moments with her that I really enjoyed, but there were quite a few scenes where the reactions didn't feel right for the situation. This wasn't something isolated to Spencer's performance, a combination of odd script and strangely edited transitions and effects left me with a lot of moments to pause.
Jahzir Bruno as Hero Boy was very good once the setting moved to the hotel, and I loved his reactions to hearing his gran explaining how to identify a witch.
Let's talk about the Grand High Witch shall we? Anne Hathaway definitely felt like the only one who was all in on their performance... and that's maybe the only positive thing I have to say about it. It was so incredibly difficult to understand what was being said half of the time, you can take an educated guess, but that doesn't really help when you're watching a film.
While all the witches have effects on them it's mainly Hathaway that had the screen time with it. As a scary creation it's pretty good, the mouth and teeth give a very sinister vibe... but at times I felt like it was overused. There were times when the effects really shone. The Grand High Witch's features looked spookily realistic, and here movements flowed seamlessly. But then you got the throwing of objects, and the animals, and it falls apart. The cat in particular reminded me of early, dubious, Harry Potter effects. (And that's not the only Harry Potter element I felt, there are strong Dudley vibes too.)
This reimagining of The Witches may have enough rodent action and face-pulling for the kids to get some enjoyment out of it, but this empty feeling film left me with little to remember apart from the negatives.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/03/the-witches-movie-review.html
When a young boy encounters a strange and frightening woman his grandmother tells him about the existence of witches. In an attempt to hide from the woman, they take a trip that accidentally drops them in the middle of a witch convention led by the Grand High Witch.
At 1 hour 46 the witches feels like a short film to watch, but on reflection that runtime seems incredibly long for what was actually presented. The opening feels long, while somehow empty. There's obviously a need to get the backstory out, but I'm not sure I enjoyed the Chris Rock voiceover combined with the condensed story from Grandma.
I don't think there's a whole lot to grumble about with the storyline, witches exist, they hate children, plan to obliterate them all... blah blah blah. While I'm not entirely convinced there's a place for some of Roald Dahl's stories these days, but this sort of kids in peril and magic plots are fairly easy ones to get along with.
I love seeing Octavia Spencer in things, though I refuse to accept her as a grandmother. There were some moments with her that I really enjoyed, but there were quite a few scenes where the reactions didn't feel right for the situation. This wasn't something isolated to Spencer's performance, a combination of odd script and strangely edited transitions and effects left me with a lot of moments to pause.
Jahzir Bruno as Hero Boy was very good once the setting moved to the hotel, and I loved his reactions to hearing his gran explaining how to identify a witch.
Let's talk about the Grand High Witch shall we? Anne Hathaway definitely felt like the only one who was all in on their performance... and that's maybe the only positive thing I have to say about it. It was so incredibly difficult to understand what was being said half of the time, you can take an educated guess, but that doesn't really help when you're watching a film.
While all the witches have effects on them it's mainly Hathaway that had the screen time with it. As a scary creation it's pretty good, the mouth and teeth give a very sinister vibe... but at times I felt like it was overused. There were times when the effects really shone. The Grand High Witch's features looked spookily realistic, and here movements flowed seamlessly. But then you got the throwing of objects, and the animals, and it falls apart. The cat in particular reminded me of early, dubious, Harry Potter effects. (And that's not the only Harry Potter element I felt, there are strong Dudley vibes too.)
This reimagining of The Witches may have enough rodent action and face-pulling for the kids to get some enjoyment out of it, but this empty feeling film left me with little to remember apart from the negatives.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/03/the-witches-movie-review.html
Bob Mann (459 KP) rated Thor: Ragnarok (2017) in Movies
Sep 29, 2021
Guaranteeing a “safe passage through the anus”!
I’m neither a Marvel fan, nor (in particular) a Thor fan….. but I have to admit “Thor: Ragnarok” was brilliant from beginning to end.
Thor (Chris Hemsworth) has been travelling the universe in search of… stuff… (I neither remember nor care)… but returns to his home planet of Asgard with a dire warning of impending ‘Raganrok’: this being the ‘End of Days’ for Asgard. But he finds the court engaged in serious leisure time!
ragnarok4
“Shave and a hair cut… two stripes”
Things go from bad to worse when Hela (Cate Blanchett, “Carol“) – someone with more than a passing relationship to Thor – arrives with a mission to assume the throne. Teamed uncomfortably with half-brother Loki (Tom Hiddleston, “High Rise”), the brothers get cast millions of light years away to a planet lorded over by a ‘grand master’ (a lovely performance, that I will leave anonymous here) who pits new gladiators in an arena against his latest champion. You’ll never guess who his champion is? Well, OK (cos the trailer gives it away)… he’s big and green!
ragnarok2
The grand master’s champion. Opponents are green with envy.
The film’s script is hilarious. It generates an enormous volume of entertainment with laugh-out loud moments throughout; the unforseen involvement of other Marvel characters; some startling cameos all mixed with the usual brand of spectacular fights and action. Some of the action is surprising: a real eye-opener you might say.
ragnarok3
Tessa Thompson as the Valkyrie in full flight.
The lead cast (Hemsworth, Hiddleston, Blanchett and Ruffalo) all perform admirably and are joined by heavyweight cameos from Anthony Hopkins (“Westworld”) and Idris Elba (“Bastille Day“) reprising their roles from “Thor: The Dark World”. Particularly impressive is Tessa Thompson (“Creed“) as Thor’s Valkyrie warrior side-kick and Karl Urban (“Star Trek: Into Darkness“) as the turn-coat Asgardian Skurge.
ragnarok5
The real McCoy. Karl Urban as the Skurge of Asgard.
Directed by young New Zealander Taika Waititi (behind last year’s successful indie hit “Hunt for the Wilderpeople”) it’s a breath of fresh air for the Thor franchise, more similar to the style of “Guardians of the Galaxy” rather than the previous films in the series. Waititi also saves all the best comedy lines for himself as the ‘rock warrior’ character Korg: his New Zealand twang delivering just side-splitting dialogue.
Hela (Cate Blanchett)
Hela may be a super-villain, but she still hasn’t learned to hold a hammer by the right end.
As with most Marvel films, its a little bit flabby in places, running to 130 minutes: some of the dialogue, particularly scenes between Hemsworth and Ruffalo, feel like they needed tightening up in the editing suite. This time of course includes the scrolling of endless teams of visual effect artists in the closing titles which – naturally – 90% of the audience stay for to see if there are any “monkeys“. In fact,there are two: one fairly early on; the other right at the end. (To be honest, I thought neither of them was particularly worth waiting for).
However overall the movie is highly recommended for a fun night out at the cinema.
Thor (Chris Hemsworth) has been travelling the universe in search of… stuff… (I neither remember nor care)… but returns to his home planet of Asgard with a dire warning of impending ‘Raganrok’: this being the ‘End of Days’ for Asgard. But he finds the court engaged in serious leisure time!
ragnarok4
“Shave and a hair cut… two stripes”
Things go from bad to worse when Hela (Cate Blanchett, “Carol“) – someone with more than a passing relationship to Thor – arrives with a mission to assume the throne. Teamed uncomfortably with half-brother Loki (Tom Hiddleston, “High Rise”), the brothers get cast millions of light years away to a planet lorded over by a ‘grand master’ (a lovely performance, that I will leave anonymous here) who pits new gladiators in an arena against his latest champion. You’ll never guess who his champion is? Well, OK (cos the trailer gives it away)… he’s big and green!
ragnarok2
The grand master’s champion. Opponents are green with envy.
The film’s script is hilarious. It generates an enormous volume of entertainment with laugh-out loud moments throughout; the unforseen involvement of other Marvel characters; some startling cameos all mixed with the usual brand of spectacular fights and action. Some of the action is surprising: a real eye-opener you might say.
ragnarok3
Tessa Thompson as the Valkyrie in full flight.
The lead cast (Hemsworth, Hiddleston, Blanchett and Ruffalo) all perform admirably and are joined by heavyweight cameos from Anthony Hopkins (“Westworld”) and Idris Elba (“Bastille Day“) reprising their roles from “Thor: The Dark World”. Particularly impressive is Tessa Thompson (“Creed“) as Thor’s Valkyrie warrior side-kick and Karl Urban (“Star Trek: Into Darkness“) as the turn-coat Asgardian Skurge.
ragnarok5
The real McCoy. Karl Urban as the Skurge of Asgard.
Directed by young New Zealander Taika Waititi (behind last year’s successful indie hit “Hunt for the Wilderpeople”) it’s a breath of fresh air for the Thor franchise, more similar to the style of “Guardians of the Galaxy” rather than the previous films in the series. Waititi also saves all the best comedy lines for himself as the ‘rock warrior’ character Korg: his New Zealand twang delivering just side-splitting dialogue.
Hela (Cate Blanchett)
Hela may be a super-villain, but she still hasn’t learned to hold a hammer by the right end.
As with most Marvel films, its a little bit flabby in places, running to 130 minutes: some of the dialogue, particularly scenes between Hemsworth and Ruffalo, feel like they needed tightening up in the editing suite. This time of course includes the scrolling of endless teams of visual effect artists in the closing titles which – naturally – 90% of the audience stay for to see if there are any “monkeys“. In fact,there are two: one fairly early on; the other right at the end. (To be honest, I thought neither of them was particularly worth waiting for).
However overall the movie is highly recommended for a fun night out at the cinema.
BankofMarquis (1832 KP) rated Amsterdam (2022) in Movies
Nov 21, 2022
Weak First Half Gives Way To Strong Second Half
There are certain Directors working today that gain such a reputation that most Major Movie Stars clamor to be in their films - no matter how big (or small) their part is. Quentin Tarantino, Wes Anderson and Christopher Nolan all come to mind. And, for some reason, David O. Russell is in that camp as well.
The latest film from this cinematic auteur, AMSTERDAM, is jam-packed with stars from Christian Bale to John David Washington to Margot Robbie, Robert DeNiro, Zoe Saldana, Rami Malek, Andrea Riseborough, Chris Rock, Michael Shannon, Michael Myers, Timothy Olyphant, Any-Taylor Joy and even Taylor Swift show up to play part in this drama/thriller/comedy that takes a real life event and gives it the David O. Russell touch.
And…what is the David O. Russell touch? It is - for better or for worse - a skewed perspective of the goings-on in the film, commenting on the action while driving a narrative forward. On the one hand, he is liked by many actors for he let’s them improvise and work through their performances. However, on the other hand, if he is not getting what he wants, he is also known as a antagonistic Director as he has had on-set feuds with George Clooney, Lilly Tomlin and Amy Adams. But…on the other hand…he has been nominated for Best Director 3x and quite a few of his actors (Bale, Adams, Cooper, Jennifer Lawrence, etc.) have been nominated for an Oscar.
For AMSTERDAM the film’s tone and intention meander for the 1st half of the movie - as do the performances - before settling into a crackerjack thriller/murder-mystery/espionage film.
And that’s too bad for many will be turned off by the 1st half - the meandering is detrimental to the audience’s enjoyment - it feels like a series of “acting scenes” and not a coherent grouping of scenarios leading to a plot. This will turn many off - and will have them turning off the film - before it settles down and becomes good.
As is often the case with Russell’s films, the performances are good (Washington), better (Robbie) and best (Bale, channelling his inner Peter Faulk) while the other actors support the 3 leads in surprising ways. If nothing else, see this movie to watch all of these wonderful performers plying their craft. Of course, you’ll be saying to yourself “that’s wonderfully acted” for you won’t be immersed into the people, emotions or the plot at the beginning.
And that is Russell’s issue. If he could have settled on the tone and focus of the 2nd half of the film in the first half, he’d have himself another Oscar contending film. But, as it were, it’s an interesting curiosity - one that will have you entertained for a few hours, but will leave you scratching your head longing for “what could have been”.
Letter Grade: B (“C” for the first half, “A” for the 2nd half)
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
The latest film from this cinematic auteur, AMSTERDAM, is jam-packed with stars from Christian Bale to John David Washington to Margot Robbie, Robert DeNiro, Zoe Saldana, Rami Malek, Andrea Riseborough, Chris Rock, Michael Shannon, Michael Myers, Timothy Olyphant, Any-Taylor Joy and even Taylor Swift show up to play part in this drama/thriller/comedy that takes a real life event and gives it the David O. Russell touch.
And…what is the David O. Russell touch? It is - for better or for worse - a skewed perspective of the goings-on in the film, commenting on the action while driving a narrative forward. On the one hand, he is liked by many actors for he let’s them improvise and work through their performances. However, on the other hand, if he is not getting what he wants, he is also known as a antagonistic Director as he has had on-set feuds with George Clooney, Lilly Tomlin and Amy Adams. But…on the other hand…he has been nominated for Best Director 3x and quite a few of his actors (Bale, Adams, Cooper, Jennifer Lawrence, etc.) have been nominated for an Oscar.
For AMSTERDAM the film’s tone and intention meander for the 1st half of the movie - as do the performances - before settling into a crackerjack thriller/murder-mystery/espionage film.
And that’s too bad for many will be turned off by the 1st half - the meandering is detrimental to the audience’s enjoyment - it feels like a series of “acting scenes” and not a coherent grouping of scenarios leading to a plot. This will turn many off - and will have them turning off the film - before it settles down and becomes good.
As is often the case with Russell’s films, the performances are good (Washington), better (Robbie) and best (Bale, channelling his inner Peter Faulk) while the other actors support the 3 leads in surprising ways. If nothing else, see this movie to watch all of these wonderful performers plying their craft. Of course, you’ll be saying to yourself “that’s wonderfully acted” for you won’t be immersed into the people, emotions or the plot at the beginning.
And that is Russell’s issue. If he could have settled on the tone and focus of the 2nd half of the film in the first half, he’d have himself another Oscar contending film. But, as it were, it’s an interesting curiosity - one that will have you entertained for a few hours, but will leave you scratching your head longing for “what could have been”.
Letter Grade: B (“C” for the first half, “A” for the 2nd half)
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (965 KP) rated The Longest Yard (2005) in Movies
Aug 14, 2019
Continuing the current trend of remakes, Adam Sandler’s Happy Madison production company set their sights on remaking the classic prison football film The Longest Yard. Like most projects that Sandler puts his Midas touch upon, this too has some moments of true gold.
The film stars Adam Sandler as Paul Crewe, a former NFL star quarterback who was banned from the league after allegedly throwing a game. As the film opens, Crewe is spending his time as a boy toy for a snobby socialite who is happy to capitalize on being seen with him, and parading Paul through various promotional ventures.
After reaching his breaking point, Paul lashes back by “borrowing” her car and leading several police officers on a high speed, and drunken chase through the streets. The resulting carnage is not only captured on live television, but awards Paul a three year prison term.
Upon arriving in the remote prison location, Crewe is introduced to Warden Hazen (James Cromwell), who attempts to recruit Crewe to help him with his semi-pro team. Crewe declines as he was urged to forcibly by Captain of the Guards Captain Knauer (William Fitchtner).
Paul eventually meets a helpful inmate known as Caretaker (Chris Rock), who shows him the ropes of prison life, and becomes a good friend for Crewe, who certainly needs friends, as there are more than a few guards and prisoners who lost money on the game he through years ago.
In time, Crew is forced by the Warden to organize a team of prisoners for a tune up game with the guards. In a series of comedic moments, Paul and Caretaker have to take drastic measures in order to organize a team from the prisoners including a game of basketball that is rougher than most games Paul had to face on the playing fields of the NFL.
Onboard to assist Paul is Coach Nate Scarborough (Burt Reynolds), who provides a much needed spark and wisdom to the team and as a former football great, allows Paul to unload some of the burden of getting the team and himself ready to play.
Of course there will be some subterfuge afoot, and the guards are not about to allow the prisoners any sense of hope, which all leads to a very funny series of point/counterpoint moves on the part of both teams to undermine the other.
When news of the game gets out, it is not long before ESPN 2 wants to televise the return of Paul Crewe, and the game soon becomes a national showcase. Since Warden Hazen has political aspirations, the outcome of the game in his favor becomes paramount forcing him to increase the pressure, and forces Paul to make a very important choice.
While the film follows the basic premise of the original, it has been updated to take advantage of modern humor and fine supporting cast. Many ex-NFL players ranging from Brian Bosworth, Michael Irvin, Bill Romanowski, and Bill Goldberg are in the film as well as wrestlers Steve Austin, Kevin Nash, and rapper Nelly.
While some may say the film is predictable, Sandler and the supporting cast do a great job in mixing humor with some of the more serious issues of prison life which results in a film that masterfully mixes humor, sports action, and human drama to create one of the better sports films in recent memory.
The film stars Adam Sandler as Paul Crewe, a former NFL star quarterback who was banned from the league after allegedly throwing a game. As the film opens, Crewe is spending his time as a boy toy for a snobby socialite who is happy to capitalize on being seen with him, and parading Paul through various promotional ventures.
After reaching his breaking point, Paul lashes back by “borrowing” her car and leading several police officers on a high speed, and drunken chase through the streets. The resulting carnage is not only captured on live television, but awards Paul a three year prison term.
Upon arriving in the remote prison location, Crewe is introduced to Warden Hazen (James Cromwell), who attempts to recruit Crewe to help him with his semi-pro team. Crewe declines as he was urged to forcibly by Captain of the Guards Captain Knauer (William Fitchtner).
Paul eventually meets a helpful inmate known as Caretaker (Chris Rock), who shows him the ropes of prison life, and becomes a good friend for Crewe, who certainly needs friends, as there are more than a few guards and prisoners who lost money on the game he through years ago.
In time, Crew is forced by the Warden to organize a team of prisoners for a tune up game with the guards. In a series of comedic moments, Paul and Caretaker have to take drastic measures in order to organize a team from the prisoners including a game of basketball that is rougher than most games Paul had to face on the playing fields of the NFL.
Onboard to assist Paul is Coach Nate Scarborough (Burt Reynolds), who provides a much needed spark and wisdom to the team and as a former football great, allows Paul to unload some of the burden of getting the team and himself ready to play.
Of course there will be some subterfuge afoot, and the guards are not about to allow the prisoners any sense of hope, which all leads to a very funny series of point/counterpoint moves on the part of both teams to undermine the other.
When news of the game gets out, it is not long before ESPN 2 wants to televise the return of Paul Crewe, and the game soon becomes a national showcase. Since Warden Hazen has political aspirations, the outcome of the game in his favor becomes paramount forcing him to increase the pressure, and forces Paul to make a very important choice.
While the film follows the basic premise of the original, it has been updated to take advantage of modern humor and fine supporting cast. Many ex-NFL players ranging from Brian Bosworth, Michael Irvin, Bill Romanowski, and Bill Goldberg are in the film as well as wrestlers Steve Austin, Kevin Nash, and rapper Nelly.
While some may say the film is predictable, Sandler and the supporting cast do a great job in mixing humor with some of the more serious issues of prison life which results in a film that masterfully mixes humor, sports action, and human drama to create one of the better sports films in recent memory.
Gareth von Kallenbach (965 KP) rated Madagascar 3: Europe's Most Wanted (2012) in Movies
Aug 7, 2019
After being shipped from New York to Madagascar and then leaving Madagascar only to end up stranded in Africa, our four favorite zoo animals are back and causing a ruckus once again, but this time in Europe.
Madagascar 3: Europe’s Most Wanted starts off where Madagascar: Escape 2 Africa left off, with Alex the lion(Ben Stiller), Marty the zebra(Chris Rock), Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stranded in Africa longing to get back to their beloved zoo in New York City. They realize the only way they will be able to return home is by relying on their super competent penguin buddies who have made their way to Monte Carlo with their chimp powered plane and the loot of jewels and money they squandered upon in Africa during the second movie.
So the quartet of four legged lovable characters along with a few familiar lemurs, King Julien (Sacha Baron Cohen), the self proclaimed King of Madagascar and his assistants Maurice (Cedric the Entertainer) and Mort (Andy Richter), decide to make their way to Monte Carlo, find the penguins, the chimpanzees, and head to New York.
Once the gang arrives in Monte Carlo it doesn’t take long for them to incite panic. Enter Captain Chantal Dubois (Francis McDormand), an impassive, somewhat indestructible animal control officer, who wants nothing more than to add a lion to her already impressive collection of animal heads mounted on her office wall. Due to her relentless pursuit and unconventional hunting techniques the animals are forced to take refuge aboard a circus train where they are welcomed by a simple-minded sea lion named Stefano (Martin Short). Stefano introduces the group to the rest of the animal circus performers and they each demonstrate their amazing tricks. The train is on its way to London and the circus crew hopes their show will garner the attention of a big time U.S. circus promoter looking to bring a show to New York. This was Alex and company’s ticket home! But would they be up to the challenge of putting on the greatest show anyone has ever seen AND evade Dubois who is hot on their tails every step of the way?
The simple storyline of animals wanting to get home has been the common thread in all three Madagascar movies. Dreamworks Animation rarely reaches the emotional expertise of Pixar, but they always manage to create movies that are still very much engaging, humorous and visually stunning. Eric Darnell and Tom McGrath, who directed the first two movies, come together once again and steer clear from the choppy, thrown together sequence of events that have plagued some sequels and trilogies. I truly believe that keeping with the same directoral chemistry plays a big part in this movie’s well-paced and entertaining storyline.
This movie is definitely geared toward the kindergarten and preschool aged audience with much of the action in the movie involving the circus performance and its Cirque du Soleil-type entertainment. Let’s add the 3D component and voila! An amazing, kaleidoscope of lights and pyrotechnics along with wonderful performances of acrobats, seal shot from cannon, high wire dancing giraffe and hippo, and flying penguins. It’s like a box of animal crackers come to life!
Madagascar 3: Europe’s Most Wanted starts off where Madagascar: Escape 2 Africa left off, with Alex the lion(Ben Stiller), Marty the zebra(Chris Rock), Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stranded in Africa longing to get back to their beloved zoo in New York City. They realize the only way they will be able to return home is by relying on their super competent penguin buddies who have made their way to Monte Carlo with their chimp powered plane and the loot of jewels and money they squandered upon in Africa during the second movie.
So the quartet of four legged lovable characters along with a few familiar lemurs, King Julien (Sacha Baron Cohen), the self proclaimed King of Madagascar and his assistants Maurice (Cedric the Entertainer) and Mort (Andy Richter), decide to make their way to Monte Carlo, find the penguins, the chimpanzees, and head to New York.
Once the gang arrives in Monte Carlo it doesn’t take long for them to incite panic. Enter Captain Chantal Dubois (Francis McDormand), an impassive, somewhat indestructible animal control officer, who wants nothing more than to add a lion to her already impressive collection of animal heads mounted on her office wall. Due to her relentless pursuit and unconventional hunting techniques the animals are forced to take refuge aboard a circus train where they are welcomed by a simple-minded sea lion named Stefano (Martin Short). Stefano introduces the group to the rest of the animal circus performers and they each demonstrate their amazing tricks. The train is on its way to London and the circus crew hopes their show will garner the attention of a big time U.S. circus promoter looking to bring a show to New York. This was Alex and company’s ticket home! But would they be up to the challenge of putting on the greatest show anyone has ever seen AND evade Dubois who is hot on their tails every step of the way?
The simple storyline of animals wanting to get home has been the common thread in all three Madagascar movies. Dreamworks Animation rarely reaches the emotional expertise of Pixar, but they always manage to create movies that are still very much engaging, humorous and visually stunning. Eric Darnell and Tom McGrath, who directed the first two movies, come together once again and steer clear from the choppy, thrown together sequence of events that have plagued some sequels and trilogies. I truly believe that keeping with the same directoral chemistry plays a big part in this movie’s well-paced and entertaining storyline.
This movie is definitely geared toward the kindergarten and preschool aged audience with much of the action in the movie involving the circus performance and its Cirque du Soleil-type entertainment. Let’s add the 3D component and voila! An amazing, kaleidoscope of lights and pyrotechnics along with wonderful performances of acrobats, seal shot from cannon, high wire dancing giraffe and hippo, and flying penguins. It’s like a box of animal crackers come to life!
Gareth von Kallenbach (965 KP) rated What to Expect When You're Expecting (2012) in Movies
Aug 7, 2019
First off, a disclaimer: I have not read the book What to Expect When You’re Expecting; nor do I have any kids of my own. That being said….
This film shows you five different stories that are not all connected, but they do intersect each other’s paths several times. The stories follow different scenarios that you can expect when you, as a couple, are expecting a baby. These five stories are the easy pregnancy, the difficult on the woman’s body pregnancy, the difficult on the relationship pregnancy, the miscarriage and the adoption.
The film has a stellar lineup for the cast. Cameron Diaz (There’s Something About Mary, Bad Teacher) plays celebrity Jules who is on a Dancing-with-the-Stars-esque show, who ends up in a relationship with her dance partner Evan, played by Matthew Morrison (Glee, Music and Lyrics). Elizabeth Banks (Zack and Miri, The Hunger Games) is Wendy, the owner of a baby store and author of a baby’s book who has been desperately trying to get pregnant with her husband Gary played by Ben Falcone (Bridesmaids). Anna Kendrick (Scott Pilgrim vs. The World, Up In The Air) is Rosie, the owner of a food truck who has a one-night stand with high school crush Marco, played by Chace Crawford (The Covenant, Gossip Girl). Jennifer Lopez (American Idol, Out of Sight) is Holly, a photographer who is attempting to go the Brangelina route by adopting a baby from Ethiopia with her husband Alex, played by Rodrigo Santoro (300, I Love You Phillip Morris). Lastly, we have Skyler who is portrayed by Brooklyn Decker (Just Go With It, Battleship). She is a stay-at-home wife married to retired NASCAR driver Ramsey, who is played by Dennis Quaid (The Day After Tomorrow, Vantage Point).
Aside from the main cast, there is also a great supporting cast with the likes of Chris Rock (Grown Ups, Death At A Funeral), Joe Manganiello (True Blood), Thomas Lennon (Reno 911, I Love You, Man), Rebel Wilson (Bridesmaids) and many more.
Based on the trailers for What to Expect When You’re Expecting, the movie looked to be a very promising comedy. I am sad to say, I was very disappointed. The trailers make it look like “The Dudes Group” is a main focus of the story, but it is only a reprieve from the main story lines. This is a shame because for me, “The Dudes Group” had the funniest moments in the movie. The rest of the film, while heart-warming at moments, seemed to lack any real attempt to make a connection with the audience. To me, the relationships just seemed unreal.
This is not to say that there are not those out there who will not enjoy the film. The ladies behind me in the theatre seemed to be laughing the whole time, but it just wasn’t my cup of tea. I once heard my editor (Gareth Von Kallenbach) say that this was a great idea, but it may have been better presented as a TV show. I have to say that I agree whole-heartedly. It would have made a great weekly sitcom, probably with the series centered on “The Dudes Group” (as I said, funniest moments in the movies). But it looks like there may be something along these lines on the horizon any way with the upcoming NBC comedy: Guys With Kids.
This film shows you five different stories that are not all connected, but they do intersect each other’s paths several times. The stories follow different scenarios that you can expect when you, as a couple, are expecting a baby. These five stories are the easy pregnancy, the difficult on the woman’s body pregnancy, the difficult on the relationship pregnancy, the miscarriage and the adoption.
The film has a stellar lineup for the cast. Cameron Diaz (There’s Something About Mary, Bad Teacher) plays celebrity Jules who is on a Dancing-with-the-Stars-esque show, who ends up in a relationship with her dance partner Evan, played by Matthew Morrison (Glee, Music and Lyrics). Elizabeth Banks (Zack and Miri, The Hunger Games) is Wendy, the owner of a baby store and author of a baby’s book who has been desperately trying to get pregnant with her husband Gary played by Ben Falcone (Bridesmaids). Anna Kendrick (Scott Pilgrim vs. The World, Up In The Air) is Rosie, the owner of a food truck who has a one-night stand with high school crush Marco, played by Chace Crawford (The Covenant, Gossip Girl). Jennifer Lopez (American Idol, Out of Sight) is Holly, a photographer who is attempting to go the Brangelina route by adopting a baby from Ethiopia with her husband Alex, played by Rodrigo Santoro (300, I Love You Phillip Morris). Lastly, we have Skyler who is portrayed by Brooklyn Decker (Just Go With It, Battleship). She is a stay-at-home wife married to retired NASCAR driver Ramsey, who is played by Dennis Quaid (The Day After Tomorrow, Vantage Point).
Aside from the main cast, there is also a great supporting cast with the likes of Chris Rock (Grown Ups, Death At A Funeral), Joe Manganiello (True Blood), Thomas Lennon (Reno 911, I Love You, Man), Rebel Wilson (Bridesmaids) and many more.
Based on the trailers for What to Expect When You’re Expecting, the movie looked to be a very promising comedy. I am sad to say, I was very disappointed. The trailers make it look like “The Dudes Group” is a main focus of the story, but it is only a reprieve from the main story lines. This is a shame because for me, “The Dudes Group” had the funniest moments in the movie. The rest of the film, while heart-warming at moments, seemed to lack any real attempt to make a connection with the audience. To me, the relationships just seemed unreal.
This is not to say that there are not those out there who will not enjoy the film. The ladies behind me in the theatre seemed to be laughing the whole time, but it just wasn’t my cup of tea. I once heard my editor (Gareth Von Kallenbach) say that this was a great idea, but it may have been better presented as a TV show. I have to say that I agree whole-heartedly. It would have made a great weekly sitcom, probably with the series centered on “The Dudes Group” (as I said, funniest moments in the movies). But it looks like there may be something along these lines on the horizon any way with the upcoming NBC comedy: Guys With Kids.
Gareth von Kallenbach (965 KP) rated Fantastic Four: Rise of the Silver Surfer (2007) in Movies
Aug 14, 2019
Since audiences last visited the crime busting quartet, the group has become media darlings, and the impending wedding of two of the team members, Mr. Fantastic (Ioan Gruffudd), and Sue Storm (Jessica Alba), has become media frenzy.
As plans for the wedding move forward, and Sue is confident that the wedding will not be postponed by another crisis, unaware that the greatest threat the earth has ever known is about to put very existence of the world in their hands.
When a mysterious Silver Surfer arrives on Earth leaving a path of chaos in his wake, it falls to the Fantastic Four, to get to the bottom of the threat and stop it as only they can. A chance encounter with the Surfer leads Johnny Storm (Chris Evans), on a high-speed race across the land which ultimately leads to a startling and at times comedic discovery. The surfer has the ability to disrupt what it touches and in the chase of Johnny, causes him to swap powers with any team member he touches.
While this is a potential disaster for Johnny, it does lead to some hilarious moments between him, Sue, and the Rock Laden The Thing, (Michael Chiklis), and ultimately leads Mr. Fantastic to devise a new way to track when and where the Surfer will appear.
The Silver Surfer is not the only danger facing the team, as the arrival of the Surfer has somehow revived the teams arch nemesis Dr. Doom (Julian Mc Mahon), who becomes obsesses with the Surfer and his secrets and forms a tenuous alliance with the Fantastic Four, despite their serious misgivings about trusting Doom.
Eventually it is learned that the Surfer is simply a harbinger for a much greater threat, Galactus, a being who eats planets to survive and who has determined the earth to be his next feats.
With the clock ticking, the team must battle, Dr. Doom, The Surfer, and each other as they try to unlock the mystery behind the surfer and save the world before it is too late.
The film though light on plot and character development, is a lot of fun and is a surprisingly enjoyable summer popcorn film. It does not try to be as haughty and pretentious as some past comic book film, and makes the most of its 89 minute run time without dragging itself out unnecessarily.
The cast works well with one another, and there are some good moments of humor to go with some well done action sequences that stay within themselves and the story rather than being the only point of the film.
If I had to find fault with the film, it would be that Dr. Doom is not really used much in the film and seems almost an afterthought to the story. He is supposed to be the ultimate villan but his real motives are only explained on a very superficial level which really detract from his effective use in the story. Another issue that the action was a bit less than I had expected it to be, especially the fact that the team is rarely seen in combat, and instead use the bulk of their powers in comedic or rescue efforts. I really would have liked to have seen the full power of the team used against a bad guy in an ongoing battle, instead of a few moments here or there.
In a summer where most of the offerings have failed to live up to expectations, this is a film that knows what it is, and does not try to be anything more than that. In doing so, the audience is treated to a briskly paced action adventure that delivers the goods, and does not promise more than it can deliver.
As plans for the wedding move forward, and Sue is confident that the wedding will not be postponed by another crisis, unaware that the greatest threat the earth has ever known is about to put very existence of the world in their hands.
When a mysterious Silver Surfer arrives on Earth leaving a path of chaos in his wake, it falls to the Fantastic Four, to get to the bottom of the threat and stop it as only they can. A chance encounter with the Surfer leads Johnny Storm (Chris Evans), on a high-speed race across the land which ultimately leads to a startling and at times comedic discovery. The surfer has the ability to disrupt what it touches and in the chase of Johnny, causes him to swap powers with any team member he touches.
While this is a potential disaster for Johnny, it does lead to some hilarious moments between him, Sue, and the Rock Laden The Thing, (Michael Chiklis), and ultimately leads Mr. Fantastic to devise a new way to track when and where the Surfer will appear.
The Silver Surfer is not the only danger facing the team, as the arrival of the Surfer has somehow revived the teams arch nemesis Dr. Doom (Julian Mc Mahon), who becomes obsesses with the Surfer and his secrets and forms a tenuous alliance with the Fantastic Four, despite their serious misgivings about trusting Doom.
Eventually it is learned that the Surfer is simply a harbinger for a much greater threat, Galactus, a being who eats planets to survive and who has determined the earth to be his next feats.
With the clock ticking, the team must battle, Dr. Doom, The Surfer, and each other as they try to unlock the mystery behind the surfer and save the world before it is too late.
The film though light on plot and character development, is a lot of fun and is a surprisingly enjoyable summer popcorn film. It does not try to be as haughty and pretentious as some past comic book film, and makes the most of its 89 minute run time without dragging itself out unnecessarily.
The cast works well with one another, and there are some good moments of humor to go with some well done action sequences that stay within themselves and the story rather than being the only point of the film.
If I had to find fault with the film, it would be that Dr. Doom is not really used much in the film and seems almost an afterthought to the story. He is supposed to be the ultimate villan but his real motives are only explained on a very superficial level which really detract from his effective use in the story. Another issue that the action was a bit less than I had expected it to be, especially the fact that the team is rarely seen in combat, and instead use the bulk of their powers in comedic or rescue efforts. I really would have liked to have seen the full power of the team used against a bad guy in an ongoing battle, instead of a few moments here or there.
In a summer where most of the offerings have failed to live up to expectations, this is a film that knows what it is, and does not try to be anything more than that. In doing so, the audience is treated to a briskly paced action adventure that delivers the goods, and does not promise more than it can deliver.
Bob Mann (459 KP) rated Live By Night (2017) in Movies
Sep 29, 2021
“Sleep by day…”.
Ben Affleck’s new movie could best be described as “sprawling”. In both directing and writing the screenplay (based on a novel by Dennis Lehane), Affleck has aimed for a “Godfather” style gangster epic and missed: not missed by a country mile, but missed nonetheless.
Morally bankrupted by his experiences in the trenches, Joe Coughlin (Affleck) returns to Boston to pick and choose which social rules he wants to follow. Not sociopathic per se, as he has a strong personal code of conduct, but Coughlin turns to robbery walking a delicate path between the warring mob factions of the Irish community, led by Albert White (the excellent Robert Glenister from TV’s “Hustle”), and the Italian community, led by Maso Pescatore (Remo Girone). Trying to keep him out of jail is his father (“Harry Potter”’s Brendan Gleeson) who – usefully – is the Deputy Police Chief. Life gets complicated when he falls in love with White’s moll, Emma Gould (Sienna Miller). The scene is set for a drama stretching from Boston to the hot and steamy Everglades over a period of the next twenty years.
Although a watchable popcorn film, the choppy episodic nature of the movie is hugely frustrating, with no compelling story arc to glue all of the disparate parts together. The (often very violent) action scenes are very well done and exciting but as a viewer you don’t feel invested in a ‘journey’ from the beginning of the film to the (unsatisfactory) ending. In my experience it’s never a good sign when the writer considers it necessary to add a voiceover to the soundtrack, and here Affleck mutters truisms about his thoughts and motives that irritate more than illuminate.
The sheer volume of players in the piece (there are about three film’s worth in here) and the resulting minimal screen time given to each allows no time for character development. Unfortunately the result is that you really care very little about whether people live or die and big plot developments land as rather an “oh” than an “OH!”.
Affleck puts in a great turn as the autistic central character whose condition results in a cold, calculating demeanor and a complete lack of emotion reflecting on his face. Oh, hang on… no, wait a minute… sorry… I’ve got the wrong film…. I’m thinking about “The Accountant”. I don’t know whether he filmed these films in parallel. I generally enjoy Ben Affleck’s work (he was excellent in “The Town”) but for 95% of this film his part could have been completed by a burly extra with an Affleck mask on. In terms of acting range, his facial muscles barely get to a “2” on the scale. Given the double problem that he is barely credible as the “young man” returning mentally wounded from the trenches, then in my opinion he would have been better to have focused on the writing and directing and found a lead of the likes of an Andrew Garfield to fill Coughlin’s shoes.
That’s not to say there is not some good acting present in the rest of the cast’s all too brief supporting roles. Elle Fanning (“Trumbo”, “Maleficent”) in particular shines as the Southern belle Loretta Figgis: a religious zealot driving her police chief father (Chris Cooper, “The Bourne Identity”) to distraction. Cooper also delivers a star turn as the moral but pragmatic law-man.
Sienna Miller (“Foxcatcher”) delivers a passable Cork accent and does her best to develop some believable chemistry with the rock-like Affleck. Zoe Saldana (“Star Trek”) is equally effective as a Cuban humanitarian.
In summary, it’s sprawlingly watchable… but overall a disappointment, with Affleck over-reaching. One day we surely will get a gangster film the likes of another “Godfather”, “Goodfellas” or “Untouchables”. Although this has its moments, unfortunately it’s more towards the “Public Enemies” end of the genre spectrum.
Morally bankrupted by his experiences in the trenches, Joe Coughlin (Affleck) returns to Boston to pick and choose which social rules he wants to follow. Not sociopathic per se, as he has a strong personal code of conduct, but Coughlin turns to robbery walking a delicate path between the warring mob factions of the Irish community, led by Albert White (the excellent Robert Glenister from TV’s “Hustle”), and the Italian community, led by Maso Pescatore (Remo Girone). Trying to keep him out of jail is his father (“Harry Potter”’s Brendan Gleeson) who – usefully – is the Deputy Police Chief. Life gets complicated when he falls in love with White’s moll, Emma Gould (Sienna Miller). The scene is set for a drama stretching from Boston to the hot and steamy Everglades over a period of the next twenty years.
Although a watchable popcorn film, the choppy episodic nature of the movie is hugely frustrating, with no compelling story arc to glue all of the disparate parts together. The (often very violent) action scenes are very well done and exciting but as a viewer you don’t feel invested in a ‘journey’ from the beginning of the film to the (unsatisfactory) ending. In my experience it’s never a good sign when the writer considers it necessary to add a voiceover to the soundtrack, and here Affleck mutters truisms about his thoughts and motives that irritate more than illuminate.
The sheer volume of players in the piece (there are about three film’s worth in here) and the resulting minimal screen time given to each allows no time for character development. Unfortunately the result is that you really care very little about whether people live or die and big plot developments land as rather an “oh” than an “OH!”.
Affleck puts in a great turn as the autistic central character whose condition results in a cold, calculating demeanor and a complete lack of emotion reflecting on his face. Oh, hang on… no, wait a minute… sorry… I’ve got the wrong film…. I’m thinking about “The Accountant”. I don’t know whether he filmed these films in parallel. I generally enjoy Ben Affleck’s work (he was excellent in “The Town”) but for 95% of this film his part could have been completed by a burly extra with an Affleck mask on. In terms of acting range, his facial muscles barely get to a “2” on the scale. Given the double problem that he is barely credible as the “young man” returning mentally wounded from the trenches, then in my opinion he would have been better to have focused on the writing and directing and found a lead of the likes of an Andrew Garfield to fill Coughlin’s shoes.
That’s not to say there is not some good acting present in the rest of the cast’s all too brief supporting roles. Elle Fanning (“Trumbo”, “Maleficent”) in particular shines as the Southern belle Loretta Figgis: a religious zealot driving her police chief father (Chris Cooper, “The Bourne Identity”) to distraction. Cooper also delivers a star turn as the moral but pragmatic law-man.
Sienna Miller (“Foxcatcher”) delivers a passable Cork accent and does her best to develop some believable chemistry with the rock-like Affleck. Zoe Saldana (“Star Trek”) is equally effective as a Cuban humanitarian.
In summary, it’s sprawlingly watchable… but overall a disappointment, with Affleck over-reaching. One day we surely will get a gangster film the likes of another “Godfather”, “Goodfellas” or “Untouchables”. Although this has its moments, unfortunately it’s more towards the “Public Enemies” end of the genre spectrum.