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Hutch (9 KP) rated True Romance (1993) in Movies
Jun 18, 2019
Who said Romamce was dead?
Tarantino really burst onto the scene in unforgettable fashion in the early 90s and sandwiched between Reservoir Dogs and Pulp Fiction is this often overlooked Tarantino penned gem.
Full of the witty dialogue, odd ball characters and great music that we've all come to expect from Tarantino, all bought to life by a stunning supporting cast.
I've always thought Christian Slater has been under rated and he proves my point here. Playing Clarence with so much charm and swagger that you can't help rooting for him and Alabama right from the start.
And the scene with Dennis Hopper and Christopher Walken is so well written and played out that its gotta rank right up there with the best of Tarantino.
Full of the witty dialogue, odd ball characters and great music that we've all come to expect from Tarantino, all bought to life by a stunning supporting cast.
I've always thought Christian Slater has been under rated and he proves my point here. Playing Clarence with so much charm and swagger that you can't help rooting for him and Alabama right from the start.
And the scene with Dennis Hopper and Christopher Walken is so well written and played out that its gotta rank right up there with the best of Tarantino.
Matthew Krueger (10051 KP) rated World War Z (2013) in Movies
Mar 3, 2020
Zombie Outbreak
With all of this news about the coronavirus, i thought i reviewing this movie. That shot in the trailer where all the zombies are trying to climb that wall looked epic, scary, horrorfying and terrorfying. And Brad Pitt was great in this film. If you havent read the book that this movie is based on, than go and read it or listen to it. Anyways the plot:
When former U.N. investigator Gerry Lane (Brad Pitt) and his family get stuck in urban gridlock, he senses that it's no ordinary traffic jam. His suspicions are confirmed when, suddenly, the city erupts into chaos. A lethal virus, spread through a single bite, is turning healthy people into something vicious, unthinking and feral. As the pandemic threatens to consume humanity, Gerry leads a worldwide search to find the source of the infection and, with luck, a way to halt its spread.
Also Marc Foster directed this film, he also directed "Monster's Ball", "Finding Neverland", "Stay", "Quantum of Solace" and "Christopher Robin". So if you like this film, go watch his other films.
When former U.N. investigator Gerry Lane (Brad Pitt) and his family get stuck in urban gridlock, he senses that it's no ordinary traffic jam. His suspicions are confirmed when, suddenly, the city erupts into chaos. A lethal virus, spread through a single bite, is turning healthy people into something vicious, unthinking and feral. As the pandemic threatens to consume humanity, Gerry leads a worldwide search to find the source of the infection and, with luck, a way to halt its spread.
Also Marc Foster directed this film, he also directed "Monster's Ball", "Finding Neverland", "Stay", "Quantum of Solace" and "Christopher Robin". So if you like this film, go watch his other films.
Gareth von Kallenbach (965 KP) rated Electric Slide (2015) in Movies
Aug 6, 2019
Today’s choice for your consideration is the 2014 film ‘Electric Slide’. A biographical crime film based on the life of antique/furniture salesman turned bank robber Eddie Dodson.
Starring Jim Sturgess, Isabel Lucas, Chloe Sevigny, Patricia Arquette, and Christopher Lambert, ‘Electric Slide’ opens in 1983 Los Angeles. Disco is nearly dead and Rock-n-Roll is putting the final nails in its coffin. By day, Eddie Dodson (Jim Sturgess) is a hip antique furniture salesman (there’s a contradiction in terms) catering to the rich and famous while in engaging in some petty thievering from his customers on the side. By night, he moves with the drug-fueled parties from one mansion to the next. A chance encounter at one of these parties introduces him to the beautiful and aloof Pauline (Isabel Lucas). Eddie and Pauline are immediately smitten with one another as though destined by fate. At about the same time, Eddie’s carefree lifestyle is coming back to haunt him as loan sharks finally catch up to him and his former benefactor Roy Fortune (Christopher Lambert) comes calling demanding the return of his money. With no other way to repay his debt, Eddie resorts to robbing banks. With Pauline in tow, Eddie uses his charm to talk the tellers at over 60 banks in the L.A. Area into handing over their cash. However, instead of paying off his debts Eddie and Pauline simply continue their life of excess with the police and the loan sharks in hot pursuit.
This film did an excellent job of depicting the ‘L.A. Lifestyle’ of the early 1980s that didn’t involve celebrities, but the folks who you would imagine would be latching on to those said celebrities.
The groupies if you will. The main character Eddie Dodson seems like he was a born con artist … a greasy slime ball who will take you for every thing you have if you let him. He is a bizarrely likable character though and his devotion to Pauline makes the viewer all the more want him to get away with just about any scheme he tries to pull. This is the first time I’ve seen Isabel Lucas in film since ‘Transformers:Revenge Of The Fallen’ or the ‘Red Dawn’ remake and I must say her performance as Pauline was brilliant. To quote another reviewer who screened this film I found myself asking ‘Who is that girl?’ From her first appearance on screen, it’s like you’re immediately drawn to her quiet/mysterious presence. It was also awesome to see Christopher Lambert in a movie once again. Although he’s portrayed a villain previously, I had personally never seen anything where he was the villain. His appearance in this film although brief had me convinced. In my opinion he should pursue more roles as the villain if they present themselves.
One of the movie’s aspects that bugged me though was the soundtrack. The only way I could describe it would be ‘hipsters trying to sound retro’ and they didn’t succeed. The music didn’t sound like it belonged in the timeframe which the movie took place in. There were also far too many clips and scenes where they kicked in the slow motion or decided to have the camera pan or zoom out in some attempt to capture more of the surroundings. They could’ve used this wasted time to include more dialogue and interaction between the main characters in my opinion. Besides the A-List actors they managed to enlist for this film the only thing that saved it in the end was the knowledge that the film was based on a true story. It kinda of fizzled about halfway though and then kicked back in 3/4s of the way through. The film is worth watching visually but the thing that killed it was that it could’ve used more dialogue. I’d give it 2.5 out of 5 stars. It’s worth watching once or twice. Nothing to write home about though.
Starring Jim Sturgess, Isabel Lucas, Chloe Sevigny, Patricia Arquette, and Christopher Lambert, ‘Electric Slide’ opens in 1983 Los Angeles. Disco is nearly dead and Rock-n-Roll is putting the final nails in its coffin. By day, Eddie Dodson (Jim Sturgess) is a hip antique furniture salesman (there’s a contradiction in terms) catering to the rich and famous while in engaging in some petty thievering from his customers on the side. By night, he moves with the drug-fueled parties from one mansion to the next. A chance encounter at one of these parties introduces him to the beautiful and aloof Pauline (Isabel Lucas). Eddie and Pauline are immediately smitten with one another as though destined by fate. At about the same time, Eddie’s carefree lifestyle is coming back to haunt him as loan sharks finally catch up to him and his former benefactor Roy Fortune (Christopher Lambert) comes calling demanding the return of his money. With no other way to repay his debt, Eddie resorts to robbing banks. With Pauline in tow, Eddie uses his charm to talk the tellers at over 60 banks in the L.A. Area into handing over their cash. However, instead of paying off his debts Eddie and Pauline simply continue their life of excess with the police and the loan sharks in hot pursuit.
This film did an excellent job of depicting the ‘L.A. Lifestyle’ of the early 1980s that didn’t involve celebrities, but the folks who you would imagine would be latching on to those said celebrities.
The groupies if you will. The main character Eddie Dodson seems like he was a born con artist … a greasy slime ball who will take you for every thing you have if you let him. He is a bizarrely likable character though and his devotion to Pauline makes the viewer all the more want him to get away with just about any scheme he tries to pull. This is the first time I’ve seen Isabel Lucas in film since ‘Transformers:Revenge Of The Fallen’ or the ‘Red Dawn’ remake and I must say her performance as Pauline was brilliant. To quote another reviewer who screened this film I found myself asking ‘Who is that girl?’ From her first appearance on screen, it’s like you’re immediately drawn to her quiet/mysterious presence. It was also awesome to see Christopher Lambert in a movie once again. Although he’s portrayed a villain previously, I had personally never seen anything where he was the villain. His appearance in this film although brief had me convinced. In my opinion he should pursue more roles as the villain if they present themselves.
One of the movie’s aspects that bugged me though was the soundtrack. The only way I could describe it would be ‘hipsters trying to sound retro’ and they didn’t succeed. The music didn’t sound like it belonged in the timeframe which the movie took place in. There were also far too many clips and scenes where they kicked in the slow motion or decided to have the camera pan or zoom out in some attempt to capture more of the surroundings. They could’ve used this wasted time to include more dialogue and interaction between the main characters in my opinion. Besides the A-List actors they managed to enlist for this film the only thing that saved it in the end was the knowledge that the film was based on a true story. It kinda of fizzled about halfway though and then kicked back in 3/4s of the way through. The film is worth watching visually but the thing that killed it was that it could’ve used more dialogue. I’d give it 2.5 out of 5 stars. It’s worth watching once or twice. Nothing to write home about though.
BankofMarquis (1832 KP) rated Nobody (2021) in Movies
Apr 27, 2021
A Fun Romp
Any fan of one of the greatest TV series of all-time, BREAKING BAD, or it’s spin-off, BETTER CALL SAUL, know the acting chops that Bob Odenkirk brings to the role of slimey, billboard lawyer Saul Goodman. His fast-talking, fast-thinking con-man is a character for the ages.
So, naturally, one would think “action star”.
But, darn it, if it doesn’t work.
Playing a retired undercover agent with a “certain set of skills”, NOBODY follows “Hutch” Mansell as he gets pulled back into using those skills when he helps a young woman who is being harassed on a bus, only to find out the thugs he went against are connected to the Russian Mob.
You can pretty much fill in the blanks from there. This film does not really tread any new ground…but…gosh…it was a fun watch.
Playing a more comedic hero than Liam Neeson in the TAKEN movies or Keanu Reeves’ JOHN WICK, Odenkirk, nonetheless, pulls off the “action hero” qualities just fine and is a winning enough presence on the screen that he holds your attention.
Christopher Lloyd (yes, Doc Brown from BACK TO THE FUTURE) is along for the ride as Odenkirk’s father, who gets pulled into the action when the Russian Mobsters decide to go after Hutch’s family and he looks like he is having a ball with this role.
The rest of the cast is pretty by-the-book (though a special shoutout needs to go to 1980’s heavy, Michael Ironside, who has a short role in this film - I would have loved to have seen more of him). The head Russian mobster is a bit over-the-top for my tastes, but the action sequences more than make up for all of this.
Credit for that must be given to Director Ilya Naishuller (HARDCORE HENRY) for he gives this film a unique look in the fight scenes while constantly having his tongue placed firmly in his cheek. I’ve seen ALOT of action films, so when a film brings something unique and fun to the screen, I sit up and notice.
And, notice I did. For NOBODY is a fun, popcorn flick. One that will be entertaining for the 92 minutes you watch.
Just don’t expect to see it during Awards season next year.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
So, naturally, one would think “action star”.
But, darn it, if it doesn’t work.
Playing a retired undercover agent with a “certain set of skills”, NOBODY follows “Hutch” Mansell as he gets pulled back into using those skills when he helps a young woman who is being harassed on a bus, only to find out the thugs he went against are connected to the Russian Mob.
You can pretty much fill in the blanks from there. This film does not really tread any new ground…but…gosh…it was a fun watch.
Playing a more comedic hero than Liam Neeson in the TAKEN movies or Keanu Reeves’ JOHN WICK, Odenkirk, nonetheless, pulls off the “action hero” qualities just fine and is a winning enough presence on the screen that he holds your attention.
Christopher Lloyd (yes, Doc Brown from BACK TO THE FUTURE) is along for the ride as Odenkirk’s father, who gets pulled into the action when the Russian Mobsters decide to go after Hutch’s family and he looks like he is having a ball with this role.
The rest of the cast is pretty by-the-book (though a special shoutout needs to go to 1980’s heavy, Michael Ironside, who has a short role in this film - I would have loved to have seen more of him). The head Russian mobster is a bit over-the-top for my tastes, but the action sequences more than make up for all of this.
Credit for that must be given to Director Ilya Naishuller (HARDCORE HENRY) for he gives this film a unique look in the fight scenes while constantly having his tongue placed firmly in his cheek. I’ve seen ALOT of action films, so when a film brings something unique and fun to the screen, I sit up and notice.
And, notice I did. For NOBODY is a fun, popcorn flick. One that will be entertaining for the 92 minutes you watch.
Just don’t expect to see it during Awards season next year.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Phillip McSween (751 KP) rated Superbad (2007) in Movies
Feb 7, 2021
Hilarious From Start to Finish
Two best friends go on an adventure to get alcohol for the last big party of high school.
Acting: 10
Michael Cera and Jonah Hill couldn’t have played their roles any better as best friends Evan and Seth. Cera is nerdy and lovable while Hill is a big ball of energy that plays macho but is really insecure. Their chemistry is perfect together and sets up perfect assists for awesome side characters like McLovin’ to shine.
Beginning: 10
Right from the first line of the movie, I got sucked in. The comedy hits you and doesn’t stop in the first ten minutes as Evan and Seth discuss what porn sites to subscribe to. It’s a perfect setup for what is to come.
Characters: 10
Evan and Seth are perfect together. You almost wonder if they aren’t best friends in real life. If there weren’t any other characters in the movie but the two of them, I still would have given this category a perfect score. Hilarious characters like Fogell (Christopher Mintz-Plasse) and Officers Slater and Michaels (Bill Hader and Seth Rogen) just add to the film’s overall enjoyment.
Cinematography/Visuals: 10
Conflict: 10
Entertainment Value: 10
In one scene, we find Seth making sex impresssions in home economics behind his cooking partner’s back while Evan looks on. This is just one of a number of scenes that make this movie ridiculously entertaining. It’s amazing how many crazy antics they get into in so few settings.
Memorability: 10
Evan and Seth are in such a rush to grow up, but towards the end of the movie, there is a scene where they are laying in sleeping bags like two little kids. It’s unique little touches like this that really make this movie strong and impactful. More than just a mere comedy, but also amazing at comedy, Superbad soars to great heights with scenes that stand the test of time.
Pace: 10
Plot: 10
Such a simple story made strong with great twists and turns. It never tries to be anything more than what it is, but it also manages to have layers nonetheless. It’s a great ride overall, and the epitomy of a “less is more” concept.
Resolution: 10
Loved how they tied everything together. Beautiful final ten minutes, just as quality as the start. Definitely leaves you with a feeling of fulfillment.
Overall: 100
As a screenwriter, a movie like Superbad is what I aspire to write. Not a comedy, but a movie that fires on all cylinders and maintains consistent, perfect timing. This is a movie I can watch repeatedly and it will never get old.
Acting: 10
Michael Cera and Jonah Hill couldn’t have played their roles any better as best friends Evan and Seth. Cera is nerdy and lovable while Hill is a big ball of energy that plays macho but is really insecure. Their chemistry is perfect together and sets up perfect assists for awesome side characters like McLovin’ to shine.
Beginning: 10
Right from the first line of the movie, I got sucked in. The comedy hits you and doesn’t stop in the first ten minutes as Evan and Seth discuss what porn sites to subscribe to. It’s a perfect setup for what is to come.
Characters: 10
Evan and Seth are perfect together. You almost wonder if they aren’t best friends in real life. If there weren’t any other characters in the movie but the two of them, I still would have given this category a perfect score. Hilarious characters like Fogell (Christopher Mintz-Plasse) and Officers Slater and Michaels (Bill Hader and Seth Rogen) just add to the film’s overall enjoyment.
Cinematography/Visuals: 10
Conflict: 10
Entertainment Value: 10
In one scene, we find Seth making sex impresssions in home economics behind his cooking partner’s back while Evan looks on. This is just one of a number of scenes that make this movie ridiculously entertaining. It’s amazing how many crazy antics they get into in so few settings.
Memorability: 10
Evan and Seth are in such a rush to grow up, but towards the end of the movie, there is a scene where they are laying in sleeping bags like two little kids. It’s unique little touches like this that really make this movie strong and impactful. More than just a mere comedy, but also amazing at comedy, Superbad soars to great heights with scenes that stand the test of time.
Pace: 10
Plot: 10
Such a simple story made strong with great twists and turns. It never tries to be anything more than what it is, but it also manages to have layers nonetheless. It’s a great ride overall, and the epitomy of a “less is more” concept.
Resolution: 10
Loved how they tied everything together. Beautiful final ten minutes, just as quality as the start. Definitely leaves you with a feeling of fulfillment.
Overall: 100
As a screenwriter, a movie like Superbad is what I aspire to write. Not a comedy, but a movie that fires on all cylinders and maintains consistent, perfect timing. This is a movie I can watch repeatedly and it will never get old.
Kirk Bage (1775 KP) rated No Time To Die by Billie Eilish in Music
Mar 3, 2020 (Updated Aug 6, 2020)
Congratulations to The Wasteland’s favourite new artist for sweeping 5 awards at yesterday’s Grammy’s. I hate to say I told you so, but I kinda did, a long way out. It just makes sense to me, that if you have a musical ear, this is the best pop music that has been made for 20 years.
Best new artist, best song (Bad Guy), record of the year, best pop vocal album of the year, and the cherry, best album of the year, for the extraordinary When We All Fall Asleep Where Do We Go. Oh, and her brother won one for best producer… so, not a terrible night out!
Not only is she now the youngest person ever to win a Grammy, beating Taylor Swift to that, mostly meaningless, accolade, but more significantly she is the the first artist to sweep the big 4 awards since Christopher Cross in 1981. That is 39 years ago!
From the few acceptance clips I have seen, you can see how genuinely stunned and thrilled she is to win, which is refreshing after a generation of too cool for school egos that were more persona than person, often holding their emotions in check for the sake of image.
I think there is a long, long way to go before talking about Billie Eilish as a great artist – she has to keep it up! But, for sure the music industry wants to make a point that this is the real deal, and have paved the path for an unlimited potential. What these awards do, is create the stamp on her being a superstar. What she and Finneas do with that now is up to them. I have a feeling they are not going to blow it; it just doesn’t feel like this story ends badly.
Billie’s Bond Theme
In the interest of this blog not turning into the Billie Eilish appreciation society, I am adding on my thoughts about the new release of her theme tune for the new 007 movie, No Time To Die. We all have a favourite Bond song from the years past, so how does this one size up?
Working in conjunction with Oscar winning composer, Hans Zimmer can’t be all bad when you just turned 18, and it certainly helps with this sombre, slow building song, utilising full orchestra and a bundle of small motifs that make it seem 100% Bond. Make no mistake, it is a Billie Eilish song, her moody vibe is all over it, but I love how faithful to the brand she has been, avoiding the temptation to do something too weird with the gig.
The first time I heard it was enough for me to be able to say “cast-iron hit!” And I haven’t changed my mind 20 listens later. It is just mind-blowing how the ball of success keeps rolling for her and Finneas. Having the honour of singing the in memoriam song at the Academy awards, with an emotional rendition of the Beatles’ Yesterday would be enough attention for one week for any ordinary superstar, but no, here’s the best Bond theme for 20 years for you too! Astonishing.
It even has folk that were a bit cautious at first saying, actually that is a great tune. Just yesterday I was listening to a radio interview where Billie talked about how she gets fan mail from all demographics, including 80 year old grandfathers! I find that not only reassuring, but apt. This is an artist of universal appeal wrapped up in the media hype of a teenage pop-idol, but doing a great job of denying that narrow image and idea.
What can I say? Just carry on, Billie. It’s going quite well!
Best new artist, best song (Bad Guy), record of the year, best pop vocal album of the year, and the cherry, best album of the year, for the extraordinary When We All Fall Asleep Where Do We Go. Oh, and her brother won one for best producer… so, not a terrible night out!
Not only is she now the youngest person ever to win a Grammy, beating Taylor Swift to that, mostly meaningless, accolade, but more significantly she is the the first artist to sweep the big 4 awards since Christopher Cross in 1981. That is 39 years ago!
From the few acceptance clips I have seen, you can see how genuinely stunned and thrilled she is to win, which is refreshing after a generation of too cool for school egos that were more persona than person, often holding their emotions in check for the sake of image.
I think there is a long, long way to go before talking about Billie Eilish as a great artist – she has to keep it up! But, for sure the music industry wants to make a point that this is the real deal, and have paved the path for an unlimited potential. What these awards do, is create the stamp on her being a superstar. What she and Finneas do with that now is up to them. I have a feeling they are not going to blow it; it just doesn’t feel like this story ends badly.
Billie’s Bond Theme
In the interest of this blog not turning into the Billie Eilish appreciation society, I am adding on my thoughts about the new release of her theme tune for the new 007 movie, No Time To Die. We all have a favourite Bond song from the years past, so how does this one size up?
Working in conjunction with Oscar winning composer, Hans Zimmer can’t be all bad when you just turned 18, and it certainly helps with this sombre, slow building song, utilising full orchestra and a bundle of small motifs that make it seem 100% Bond. Make no mistake, it is a Billie Eilish song, her moody vibe is all over it, but I love how faithful to the brand she has been, avoiding the temptation to do something too weird with the gig.
The first time I heard it was enough for me to be able to say “cast-iron hit!” And I haven’t changed my mind 20 listens later. It is just mind-blowing how the ball of success keeps rolling for her and Finneas. Having the honour of singing the in memoriam song at the Academy awards, with an emotional rendition of the Beatles’ Yesterday would be enough attention for one week for any ordinary superstar, but no, here’s the best Bond theme for 20 years for you too! Astonishing.
It even has folk that were a bit cautious at first saying, actually that is a great tune. Just yesterday I was listening to a radio interview where Billie talked about how she gets fan mail from all demographics, including 80 year old grandfathers! I find that not only reassuring, but apt. This is an artist of universal appeal wrapped up in the media hype of a teenage pop-idol, but doing a great job of denying that narrow image and idea.
What can I say? Just carry on, Billie. It’s going quite well!
Kirk Bage (1775 KP) rated Tenet (2020) in Movies
Jan 22, 2021
Due to circumstances we have all lived with now for about 8 months, that scarce need a word more said about them, this has remained only the second film I have seen at a cinema in 2020, following an early January viewing of The Rise of Skywalker. And it will probably be the last film I head out to see on the big screen for a while. This, naturally, breaks my heart. It does, however, place Christopher Nolan’s complex thriller into a very peculiar and memorable place in the collective psyche of film lovers.
For many it will have been the film that brought them out of lockdown number one into a world of slight hope that normality was returning. As it co-incided with my daughter’s birthday it became part of a treat day out that although socially distanced was my first attempt to do all the things I hadn’t done for a while; eat out in a restaurant, have a pint in a bar, and then see a movie. The experience, whilst still enjoyable and memorable, was tainted by how surreal and empty the world felt – the meal was in an half empty and cold Hard Rock Cafe, with no music and a smell of disinfectant; the pint was in a pop up outside bar that only took orders via a phone app in advance; and the movie was attended by six people, of which we were two, separated by not two metres but at least ten!
I have been in some screenings that were dead quiet before, but not for a film so anticipated and more or less mainstream. It was odd. Hats off to the staff of Everyman, Glasgow, however, who were exemplary in their courtesy, welcoming and safety precautions. It wasn’t their fault it was empty, and I applaud them for keeping the ball rolling at that time around the start of September. At least the sofas were comfy, the place was warm and the smell was still of popcorn and not domestos.
I had been looking forward to the film immensely. The hype and build-up to it had come with a lot of baggage, with rumours of production delays and script issues going back a few years. It was shrouded in mystery, with even the trailer being delayed until the very last moment and critics not getting to see it until a day before release, such was the fear of spoilers leaking out. My first concern, being so excited by the prospect of another time bending classic to join Memento, Interstellar and Inception in the ranks of “OK, what just happened” masterpieces, was that the sound during the trailers was very very low – if they kept it that low during the actual film I would demand my money back… I needn’t have worried…
Never in my life have I felt as if my eardrums were about to burst whilst watching a film! Literally, at times, Hans Zimmer’s powerful and emotive score was vibrating my testicles! Add to that the fact that a lot of the dialogue seemed mumbled and drowned out by it, and it made the first 45 minutes very difficult to enjoy. Was this horrendous sound mix a mistake? Or very much part of the plan to overwhelm the senses and confuse the brain? Was it part of the puzzle or a massive technical oversight? As almost everyone seems to have the same complaint about it, the jury is still out on that one…
And so, it took a little while for me to atune to the tone, regardless of how hard you had to focus to take in anything of what was going on. There was a point where I became certain I wasn’t going to like it – I braced myself for disappointment. And then… at a certain moment in a certain scene the penny dropped and so did my jaw, as the full realisation of where this was going, and how unique and mind blowing that concept was, finally kicked in. From that moment on it just got better and better, as the technical achievement required, let alone intelligence, to pull this off surpassed all previous levels of anything I can ever remember.
The “Wow” moments just kept on coming as the action, tension and intrigue kept rising to fever pitch. In the end, so profoundly bewildering were the potential possibilities of the plot and premise that I gave up trying to meet it intellectually and just allowed it to wash over me emotionally, knowing that repeat viewings would allow me to engage with it in that way later.
John David Washington as “the protagonist” is suitably neutral and unshowy in the role; threatening to be compared to Bond or Bourne, but never quite being either, as this world, despite it’s surface glamour and underground seediness feels much closer to DiCaprio’s suit wearing mind spy in Inception than either of those. For anyone who didn’t yet catch his terrific turn in BlacKkKlansman this may be their first encounter with him, and you’d have to say he has a very solid, dependable quality, without ever being starry or attention seeking. Watchable, for sure, but never chewing the scenery at the cost of the story – and surely that is why Nolan chose him.
Beside Washington is another excellent performance by the increasingly impressive Robert Pattinson. His role as the enigmatic Neil here grows on you minute to minute during the film, and afterwards you wonder if he wasn’t the best thing about the entire production… there is a subtlety of meaning in all his scenes that is only revealed late on, and demands a further watch or two to get every nuance from. He gives the impression he is entirely in control of the full meaning of the film and his own performance, so much so he strikes me as the pivot that would tip you either way on whether you liked the film or not.
And I have to admit not liking it is a valid option. You couldn’t possibly watch it whilst tired or in a bad mood, it is just too full on, bordering on oppressive at times. There are also a few supporting roles that I’m not 100% certain of, most notably Kenneth Brannagh as the seeming villain of the piece, Sator. His accent is a distraction, and it feels like a character you’ve seen him play before – fine in most ways, but nothing special – and I found myself wishing they had cast someone else in that role. Likewise with the less exposed Elizabeth Debicki – adequate, but not transcendent, as her character might have been with a more charismatic actress.
My overall impression was definitely affected by how much my daughter enjoyed it – she loves having a mystery to solve, especially if it involves time or some other sci-fi concept. The pleasure of it was chatting it over excitedly afterwards, to see if either of us had truly understood the full story, in the same way I remember doing with others about all Nolan’s concept pieces over the years. If you come to it being less than bothered about having to unlock a puzzle box then it may very well piss you off, to the extent you either just give up or sit back and enjoy the ride. However, I would assert confidently that it is worth the effort and will reward multiple viewings over time. Especially as more clues to its meaning are discussed and revealed.
One thing that can be said with certainty is that there is no other film like this that has ever been made. It feels different and beyond comparison in many crucial ways. The ambition of Nolan has to be applauded. I only wish he would go back and sort out that sound design before I get around to seeing it again.
For many it will have been the film that brought them out of lockdown number one into a world of slight hope that normality was returning. As it co-incided with my daughter’s birthday it became part of a treat day out that although socially distanced was my first attempt to do all the things I hadn’t done for a while; eat out in a restaurant, have a pint in a bar, and then see a movie. The experience, whilst still enjoyable and memorable, was tainted by how surreal and empty the world felt – the meal was in an half empty and cold Hard Rock Cafe, with no music and a smell of disinfectant; the pint was in a pop up outside bar that only took orders via a phone app in advance; and the movie was attended by six people, of which we were two, separated by not two metres but at least ten!
I have been in some screenings that were dead quiet before, but not for a film so anticipated and more or less mainstream. It was odd. Hats off to the staff of Everyman, Glasgow, however, who were exemplary in their courtesy, welcoming and safety precautions. It wasn’t their fault it was empty, and I applaud them for keeping the ball rolling at that time around the start of September. At least the sofas were comfy, the place was warm and the smell was still of popcorn and not domestos.
I had been looking forward to the film immensely. The hype and build-up to it had come with a lot of baggage, with rumours of production delays and script issues going back a few years. It was shrouded in mystery, with even the trailer being delayed until the very last moment and critics not getting to see it until a day before release, such was the fear of spoilers leaking out. My first concern, being so excited by the prospect of another time bending classic to join Memento, Interstellar and Inception in the ranks of “OK, what just happened” masterpieces, was that the sound during the trailers was very very low – if they kept it that low during the actual film I would demand my money back… I needn’t have worried…
Never in my life have I felt as if my eardrums were about to burst whilst watching a film! Literally, at times, Hans Zimmer’s powerful and emotive score was vibrating my testicles! Add to that the fact that a lot of the dialogue seemed mumbled and drowned out by it, and it made the first 45 minutes very difficult to enjoy. Was this horrendous sound mix a mistake? Or very much part of the plan to overwhelm the senses and confuse the brain? Was it part of the puzzle or a massive technical oversight? As almost everyone seems to have the same complaint about it, the jury is still out on that one…
And so, it took a little while for me to atune to the tone, regardless of how hard you had to focus to take in anything of what was going on. There was a point where I became certain I wasn’t going to like it – I braced myself for disappointment. And then… at a certain moment in a certain scene the penny dropped and so did my jaw, as the full realisation of where this was going, and how unique and mind blowing that concept was, finally kicked in. From that moment on it just got better and better, as the technical achievement required, let alone intelligence, to pull this off surpassed all previous levels of anything I can ever remember.
The “Wow” moments just kept on coming as the action, tension and intrigue kept rising to fever pitch. In the end, so profoundly bewildering were the potential possibilities of the plot and premise that I gave up trying to meet it intellectually and just allowed it to wash over me emotionally, knowing that repeat viewings would allow me to engage with it in that way later.
John David Washington as “the protagonist” is suitably neutral and unshowy in the role; threatening to be compared to Bond or Bourne, but never quite being either, as this world, despite it’s surface glamour and underground seediness feels much closer to DiCaprio’s suit wearing mind spy in Inception than either of those. For anyone who didn’t yet catch his terrific turn in BlacKkKlansman this may be their first encounter with him, and you’d have to say he has a very solid, dependable quality, without ever being starry or attention seeking. Watchable, for sure, but never chewing the scenery at the cost of the story – and surely that is why Nolan chose him.
Beside Washington is another excellent performance by the increasingly impressive Robert Pattinson. His role as the enigmatic Neil here grows on you minute to minute during the film, and afterwards you wonder if he wasn’t the best thing about the entire production… there is a subtlety of meaning in all his scenes that is only revealed late on, and demands a further watch or two to get every nuance from. He gives the impression he is entirely in control of the full meaning of the film and his own performance, so much so he strikes me as the pivot that would tip you either way on whether you liked the film or not.
And I have to admit not liking it is a valid option. You couldn’t possibly watch it whilst tired or in a bad mood, it is just too full on, bordering on oppressive at times. There are also a few supporting roles that I’m not 100% certain of, most notably Kenneth Brannagh as the seeming villain of the piece, Sator. His accent is a distraction, and it feels like a character you’ve seen him play before – fine in most ways, but nothing special – and I found myself wishing they had cast someone else in that role. Likewise with the less exposed Elizabeth Debicki – adequate, but not transcendent, as her character might have been with a more charismatic actress.
My overall impression was definitely affected by how much my daughter enjoyed it – she loves having a mystery to solve, especially if it involves time or some other sci-fi concept. The pleasure of it was chatting it over excitedly afterwards, to see if either of us had truly understood the full story, in the same way I remember doing with others about all Nolan’s concept pieces over the years. If you come to it being less than bothered about having to unlock a puzzle box then it may very well piss you off, to the extent you either just give up or sit back and enjoy the ride. However, I would assert confidently that it is worth the effort and will reward multiple viewings over time. Especially as more clues to its meaning are discussed and revealed.
One thing that can be said with certainty is that there is no other film like this that has ever been made. It feels different and beyond comparison in many crucial ways. The ambition of Nolan has to be applauded. I only wish he would go back and sort out that sound design before I get around to seeing it again.