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Emma @ The Movies (1786 KP) rated Mamma Mia: Here We Go Again! (2018) in Movies
Jun 29, 2019 (Updated Sep 25, 2019)
Be still my beating vagina indeed... I think that every time I see Andy Garcia, and this time was no exception. But no more of that or I'll start drooling on the keyboard.
One thing that made me click with the movie is that we all know a Harry, Bill and Sam in their younger forms. In fact it gave me a few little traumatising flashbacks, but luckily I was soon moved on by the singing.
I'm very pleased that Pierce's singing was hidden within group pieces or as mildly rhythmic speaking. Pierce, I love you, but no! The singing is amazing throughout and listening to Cher, well, wonderful. The songs were all lovely, toe tapping and smile inducing. If nothing else, then this movie is just a brilliant chance for some karaoke.
I think that my favourite thing is Christine Baranski and Julie Walters together. They're just perfect, and how I see myself being in the future... hell, I'm almost there right now.
For a moment I really wanted to give this five stars as it was immensely enjoyable but the flaws just leave me cold on that last star. Howard Stark feels to me like the weakest out of the cast, I wasn't overly keen on him in the first one either. At several times in the movie I felt like I was watching people standing in front of a green screen, I don't know if they were or if it was just the way it was shot, but it certainly felt distracting. Lastly, if you turned the singing and dancing back into normal dialogue scenes I don't feel like you're left with much of a film, the story is just padded out with what everyone is there to see.
But like I say, it's a good watch. It is emotional and it does instil you with a warm feeling. At one point I thought I was going to actually audibly cry. There are definitely enough good moments in it to make it a must watch.
One thing that made me click with the movie is that we all know a Harry, Bill and Sam in their younger forms. In fact it gave me a few little traumatising flashbacks, but luckily I was soon moved on by the singing.
I'm very pleased that Pierce's singing was hidden within group pieces or as mildly rhythmic speaking. Pierce, I love you, but no! The singing is amazing throughout and listening to Cher, well, wonderful. The songs were all lovely, toe tapping and smile inducing. If nothing else, then this movie is just a brilliant chance for some karaoke.
I think that my favourite thing is Christine Baranski and Julie Walters together. They're just perfect, and how I see myself being in the future... hell, I'm almost there right now.
For a moment I really wanted to give this five stars as it was immensely enjoyable but the flaws just leave me cold on that last star. Howard Stark feels to me like the weakest out of the cast, I wasn't overly keen on him in the first one either. At several times in the movie I felt like I was watching people standing in front of a green screen, I don't know if they were or if it was just the way it was shot, but it certainly felt distracting. Lastly, if you turned the singing and dancing back into normal dialogue scenes I don't feel like you're left with much of a film, the story is just padded out with what everyone is there to see.
But like I say, it's a good watch. It is emotional and it does instil you with a warm feeling. At one point I thought I was going to actually audibly cry. There are definitely enough good moments in it to make it a must watch.
Gareth von Kallenbach (962 KP) rated A Bad Moms Christmas (2017) in Movies
Jul 11, 2019
Christmas is the happiest time of the year. At least it’s supposed to be, Moms are expected to work tirelessly throughout the Christmas season to ensure that the holiday is absolute perfection for their families. The gifts are to be wrapped with precision, decorations hanging from every available bough, food that could be lifted from the pages of Bon Appétit magazine, all done without breaking a sweat. Tis the season for family and frolic, yet our Bad Moms are stressed beyond their imagination this holiday season. Why? Because their mothers have arrived.
This Christmas, Amy (Mila Kunis), Kiki (Kristen Bell) and Carla (Kathryn Hahn) are enter the holiday season feeling the pressure of Christmas present. With all that need to be done, they agree that this is the Christmas where they make the rules. Amy decides that they are going to have a low key holiday. However, that goes against the everything Ruth (Christine Baranski), Amy’s mom believes and expects as she arrives in a tornado of holiday perfection, trailed by her blissfully oblivious husband Hank (Peter Gallagher). Ruth is a perfectionist, a task master extraordinaire who expects no less from her child. Amy, tired of trying to get her mother’s approval, decides to change the traditions.
Kiki’s Mom Sandy (Cheryl Hines) is the clinging, overbearing type who’s behavior could be classified as stalker; if she were not Kiki’s mom. Sandy’s need to be close to her daughter crosses the comfort zone in so many ways. Kiki decides to see Dr. Karl (Wanda Sykes), the family therapist, who explains the maternal process of insanity in hilariously truthful detail.
Isis (Susan Sarandon) shows up at Carla’s house unexpectedly. She seems to only show up at Carla’s door when she has run out of money. She is on the other side of the maternal spectrum, the hands off type. Carla has had to fend for herself for years and expects her mother to take off without a moment’s notice.
I enjoyed the first Bad Moms, but I was hesitant to watch the sequel because there was a chance that it would not be as good as the first. I quite surprised by how much I enjoyed the movie. It made me snort laugh more than once. This is the perfect movie for a Girls Night Out. Grab your BFFs and head to the theater to take a break this holiday season!
This Christmas, Amy (Mila Kunis), Kiki (Kristen Bell) and Carla (Kathryn Hahn) are enter the holiday season feeling the pressure of Christmas present. With all that need to be done, they agree that this is the Christmas where they make the rules. Amy decides that they are going to have a low key holiday. However, that goes against the everything Ruth (Christine Baranski), Amy’s mom believes and expects as she arrives in a tornado of holiday perfection, trailed by her blissfully oblivious husband Hank (Peter Gallagher). Ruth is a perfectionist, a task master extraordinaire who expects no less from her child. Amy, tired of trying to get her mother’s approval, decides to change the traditions.
Kiki’s Mom Sandy (Cheryl Hines) is the clinging, overbearing type who’s behavior could be classified as stalker; if she were not Kiki’s mom. Sandy’s need to be close to her daughter crosses the comfort zone in so many ways. Kiki decides to see Dr. Karl (Wanda Sykes), the family therapist, who explains the maternal process of insanity in hilariously truthful detail.
Isis (Susan Sarandon) shows up at Carla’s house unexpectedly. She seems to only show up at Carla’s door when she has run out of money. She is on the other side of the maternal spectrum, the hands off type. Carla has had to fend for herself for years and expects her mother to take off without a moment’s notice.
I enjoyed the first Bad Moms, but I was hesitant to watch the sequel because there was a chance that it would not be as good as the first. I quite surprised by how much I enjoyed the movie. It made me snort laugh more than once. This is the perfect movie for a Girls Night Out. Grab your BFFs and head to the theater to take a break this holiday season!
Movie Metropolis (309 KP) rated Into the Woods (2014) in Movies
Jun 11, 2019
A charming adaptation
Wolves, witches and giants all appear in the film adaptation of Stephen Sondheim’s popular musical which takes all the best bits of our favourite fairytales and mashes them together in one engaging, song-filled rollercoaster.
However, musical movie adaptations are notoriously difficult to get right, from casting restraints to the inclusion of all the songs, transferring them to the silver screen is not something to be entered into lightly. So does director Rob Marhsall’s effort elevate itself above its peers?
Into the Woods has numerous plot threads that all end up coming together in one way or another, but the main storyline follows a baker (James Corden) and his wife, played gloriously by Emily Blunt, as they come to realise they cannot have a child.
Alas, a witch – who just so happens to live next door – has a way to provide them with what they want as long as they get a few items for her in the meantime.
An all-star cast including the likes of Chris Pine, Anna Kendrick, Christine Baranski, Lucy Punch, Johnny Depp and of course Meryl Streep all give their all in a film that is brimming with tantalising cinematography and stunning songs.
meryl-streep-into-the-woodsGenerally speaking, the female cast fares better in the singing portions of the film, although Chris Pine and Billy Magnussen had the audience in intentional fits of laughter in one particular sequence as two handsome Princes.
Unfortunately, Into the Wood’s greatest asset, its cast, is also its biggest undoing. Having so many story threads means that there isn’t any emotional attachment to the characters – despite the film’s numerous attempts to tug at the heartstrings.
Despite a deeply heartfelt performance of ‘Stay with Me’ from Meryl Streep, the film just steadily rolls itself from admittedly thrilling set piece to set piece without getting bogged down in nitty gritty character development.
Thankfully, the glorious cinematography that featured in the trailer continues throughout. An enclosed feeling makes you feel like you’re actually watching a stage show rather than a film, albeit one with a much higher budget, and this is one of its most captivating features.
Director Rob Marshall has managed to keep the pantomime feel despite the fact the audience is watching in a cinema – the locations are never overdone and everything feels nicely claustrophobic, adding to the eerie atmosphere.
However, the final act is unnecessarily long and its foray into deeper territory means the magic and sparkle is well and truly lost. This is a real shame as there are numerous moments where the film could end on a high, rather than delving into a murky and at times, incomprehensible final third.
Overall, Into the Woods is a charming adaptation of the popular musical and despite its slightly overlong running time and a disappointing final act, it manages to stay on course for a perfectly adequate, if underwhelming finale.
The entire cast have a ball with their characters with Meryl Streep and Emily Blunt being particular highlights throughout.
Parents beware however, its PG certification may be slightly too lenient for smaller children, who will no doubt be intrigued by the premise of combining our most-loved fairytales.
https://moviemetropolis.net/2015/01/17/a-charming-adaptation-into-the-woods-review/
However, musical movie adaptations are notoriously difficult to get right, from casting restraints to the inclusion of all the songs, transferring them to the silver screen is not something to be entered into lightly. So does director Rob Marhsall’s effort elevate itself above its peers?
Into the Woods has numerous plot threads that all end up coming together in one way or another, but the main storyline follows a baker (James Corden) and his wife, played gloriously by Emily Blunt, as they come to realise they cannot have a child.
Alas, a witch – who just so happens to live next door – has a way to provide them with what they want as long as they get a few items for her in the meantime.
An all-star cast including the likes of Chris Pine, Anna Kendrick, Christine Baranski, Lucy Punch, Johnny Depp and of course Meryl Streep all give their all in a film that is brimming with tantalising cinematography and stunning songs.
meryl-streep-into-the-woodsGenerally speaking, the female cast fares better in the singing portions of the film, although Chris Pine and Billy Magnussen had the audience in intentional fits of laughter in one particular sequence as two handsome Princes.
Unfortunately, Into the Wood’s greatest asset, its cast, is also its biggest undoing. Having so many story threads means that there isn’t any emotional attachment to the characters – despite the film’s numerous attempts to tug at the heartstrings.
Despite a deeply heartfelt performance of ‘Stay with Me’ from Meryl Streep, the film just steadily rolls itself from admittedly thrilling set piece to set piece without getting bogged down in nitty gritty character development.
Thankfully, the glorious cinematography that featured in the trailer continues throughout. An enclosed feeling makes you feel like you’re actually watching a stage show rather than a film, albeit one with a much higher budget, and this is one of its most captivating features.
Director Rob Marshall has managed to keep the pantomime feel despite the fact the audience is watching in a cinema – the locations are never overdone and everything feels nicely claustrophobic, adding to the eerie atmosphere.
However, the final act is unnecessarily long and its foray into deeper territory means the magic and sparkle is well and truly lost. This is a real shame as there are numerous moments where the film could end on a high, rather than delving into a murky and at times, incomprehensible final third.
Overall, Into the Woods is a charming adaptation of the popular musical and despite its slightly overlong running time and a disappointing final act, it manages to stay on course for a perfectly adequate, if underwhelming finale.
The entire cast have a ball with their characters with Meryl Streep and Emily Blunt being particular highlights throughout.
Parents beware however, its PG certification may be slightly too lenient for smaller children, who will no doubt be intrigued by the premise of combining our most-loved fairytales.
https://moviemetropolis.net/2015/01/17/a-charming-adaptation-into-the-woods-review/
Bob Mann (459 KP) rated Miss Sloane (2016) in Movies
Sep 29, 2021
“I never know where the line is”.
In a roller-coaster year for political intrigue on both sides of the Atlantic, and with all hell breaking loose again between Trump and ‘The Hill’, here comes “Miss Sloane”.
Jessica Chastain ( “The Martian“, “Interstellar“) plays the titular heroine (I use the term loosely): a pill-popping insomniac who is working herself into an early grave as a top-Washington lobbyist. The game of lobbying is, as she describes, staying one step of the competition and “playing your trump card just after your opponent has played theirs”. But all is not going well for Elizabeth Sloane. For the film opens with her being on trial for corruption in front of a congressional hearing, chaired by Senator Sperling (John Lithgow, “The Accountant“).
Through flashback we see how she got to that point, moving from one firm headed by George Dupont (Sam Waterston, “The Killing Fields”) to another headed by Rodolfo Schmidt (Mark Strong, “Kick Ass”, “Kingsman: The Secret Service“) against the backdrop of the high-stakes lobbying around a new gun-control bill. Her fanatical drive to ‘win at all costs’, and the trail of destruction, through her cutthroat work ethic, that she leaves behind her, digs her an ever-deeper hole as the political and legal net closes in around her.
Jessica Chastain has played strong and decisive women before, most notably in “Zero Dark Thirty”, but probably never to this extreme degree. Here she is like Miranda Priestly from “The Devil Wears Prada”, but not played for laughs. Miss Sloane is an emotionally and physically damaged woman, but a formidable one who takes charge both in the boardroom and in the bedroom, through the unashamed use of male escorts (in the well-muscled form of Jake Lacy, “Their Finest“). As such her character is not remotely likable, but one the I could certainly relate to from past business dealings I’ve had. (And no, I don’t mean as a male prostitute!)
I found Sloane to be one of the more fascinating characters in this year’s releases: I was never being sure whether her actions are being powered from a background of strong moral conviction (fuelled by a devastating childhood incident perhaps?) or through pure greed and lust for power. I thought Chastain excelled in the role, but for balance the illustrious Mrs Mann thought she rather overplayed her hand at times.
Outside of Chastain’s central performance though, this is a very strong ensemble cast. Mark Strong – not with an English accent for once and not playing a heavy – is great as the frustrated boss, as is the seldom-seen Sam Waterston (who, by the way, is the father of Katherine Waterston of current “Alien: Covenant” fame). Christine Baranski (so good in “The Good Wife” and now “The Good Fight”) pops up in a cameo as a flinty Senator. But the outstanding turn for me was Oxford-born Gugu Mbatha-Raw (“Belle”, “Beauty and the Beast” – and yes, I’m aware of the irony in this pairing!). Playing Sloane’s colleague Esme Manucharian – both a lady with a secret in her past as well as possessing a great name – Mbatha-Raw is just riveting and deserving of a Supporting Actress nomination in my book.
What binds the whole two hours together is an extraordinarily skillful script by debut writer Jonathan Perera, which has both a gripping and ever-twisting story as well as a host of quotable lines. Ladies and gentlemen, we may have a new Aaron Sorkin on the block! It’s a brave script, dealing as it does with 2nd amendment issues, since there seems to be nothing that stirs up American comment like gun-control. For those living in the UK (where gun deaths are over 50 times less per capita than in the US) the whole topic is both fascinating and perplexing and there were a lot of nodding heads during Sloane’s TV rant about it being an archaic ‘Wild West’ throwback that should no longer be set in stone. (But it’s not our country any more, so you Americans can do what you like!)
The marvelous Cinematography is by Sebastian Blenkov – the second time this gentleman has come to my attention within a month (the first time being “Their Finest“).
The director is Portsmouth-born Brit John Madden (“Shakespeare in Love”, “The Best Exotic Marigold Hotel”) and he does a great job in sustaining the tension and energy throughout the running time. This all makes it a great shame that the film has not done well at the US box office, perhaps because ( the film was released in December 2016) the public had more than their fill of politics after a bruising and divisive election. (I’m not sure the UK release date now – just before our own General Election – is wise either).
But for me, this was a memorable film, and come the end of the year it might well be up there in my top 10 for the year. I’m a sucker for a good political thriller with “All the President’s Men” and “Primary Colors” in my personal list as some of my favourite ever films. If you like those films, “House of Cards” or remember fondly TV series like “The West Wing” or (for those with even longer memories) “Washington Behind Closed Doors” then I would strongly recommend you get out and watch this.
Jessica Chastain ( “The Martian“, “Interstellar“) plays the titular heroine (I use the term loosely): a pill-popping insomniac who is working herself into an early grave as a top-Washington lobbyist. The game of lobbying is, as she describes, staying one step of the competition and “playing your trump card just after your opponent has played theirs”. But all is not going well for Elizabeth Sloane. For the film opens with her being on trial for corruption in front of a congressional hearing, chaired by Senator Sperling (John Lithgow, “The Accountant“).
Through flashback we see how she got to that point, moving from one firm headed by George Dupont (Sam Waterston, “The Killing Fields”) to another headed by Rodolfo Schmidt (Mark Strong, “Kick Ass”, “Kingsman: The Secret Service“) against the backdrop of the high-stakes lobbying around a new gun-control bill. Her fanatical drive to ‘win at all costs’, and the trail of destruction, through her cutthroat work ethic, that she leaves behind her, digs her an ever-deeper hole as the political and legal net closes in around her.
Jessica Chastain has played strong and decisive women before, most notably in “Zero Dark Thirty”, but probably never to this extreme degree. Here she is like Miranda Priestly from “The Devil Wears Prada”, but not played for laughs. Miss Sloane is an emotionally and physically damaged woman, but a formidable one who takes charge both in the boardroom and in the bedroom, through the unashamed use of male escorts (in the well-muscled form of Jake Lacy, “Their Finest“). As such her character is not remotely likable, but one the I could certainly relate to from past business dealings I’ve had. (And no, I don’t mean as a male prostitute!)
I found Sloane to be one of the more fascinating characters in this year’s releases: I was never being sure whether her actions are being powered from a background of strong moral conviction (fuelled by a devastating childhood incident perhaps?) or through pure greed and lust for power. I thought Chastain excelled in the role, but for balance the illustrious Mrs Mann thought she rather overplayed her hand at times.
Outside of Chastain’s central performance though, this is a very strong ensemble cast. Mark Strong – not with an English accent for once and not playing a heavy – is great as the frustrated boss, as is the seldom-seen Sam Waterston (who, by the way, is the father of Katherine Waterston of current “Alien: Covenant” fame). Christine Baranski (so good in “The Good Wife” and now “The Good Fight”) pops up in a cameo as a flinty Senator. But the outstanding turn for me was Oxford-born Gugu Mbatha-Raw (“Belle”, “Beauty and the Beast” – and yes, I’m aware of the irony in this pairing!). Playing Sloane’s colleague Esme Manucharian – both a lady with a secret in her past as well as possessing a great name – Mbatha-Raw is just riveting and deserving of a Supporting Actress nomination in my book.
What binds the whole two hours together is an extraordinarily skillful script by debut writer Jonathan Perera, which has both a gripping and ever-twisting story as well as a host of quotable lines. Ladies and gentlemen, we may have a new Aaron Sorkin on the block! It’s a brave script, dealing as it does with 2nd amendment issues, since there seems to be nothing that stirs up American comment like gun-control. For those living in the UK (where gun deaths are over 50 times less per capita than in the US) the whole topic is both fascinating and perplexing and there were a lot of nodding heads during Sloane’s TV rant about it being an archaic ‘Wild West’ throwback that should no longer be set in stone. (But it’s not our country any more, so you Americans can do what you like!)
The marvelous Cinematography is by Sebastian Blenkov – the second time this gentleman has come to my attention within a month (the first time being “Their Finest“).
The director is Portsmouth-born Brit John Madden (“Shakespeare in Love”, “The Best Exotic Marigold Hotel”) and he does a great job in sustaining the tension and energy throughout the running time. This all makes it a great shame that the film has not done well at the US box office, perhaps because ( the film was released in December 2016) the public had more than their fill of politics after a bruising and divisive election. (I’m not sure the UK release date now – just before our own General Election – is wise either).
But for me, this was a memorable film, and come the end of the year it might well be up there in my top 10 for the year. I’m a sucker for a good political thriller with “All the President’s Men” and “Primary Colors” in my personal list as some of my favourite ever films. If you like those films, “House of Cards” or remember fondly TV series like “The West Wing” or (for those with even longer memories) “Washington Behind Closed Doors” then I would strongly recommend you get out and watch this.