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MelanieTheresa (997 KP) rated First Man (2018) in Movies
Oct 3, 2018
POV launch sequences (1 more)
Claire Foy
A bit slow (2 more)
A little long
Terrible sound mixing
I love a good space movie.
Everyone knows the story of the first moon landing - who, what, where, when, how - but this movie goes a bit deeper than the history books you've read. I'm not spoiling the ending by telling you they land on the moon; you already know this. What you may not know is what led up to that historical moment: the tests, the failures, the losses, the toll taken on the astronauts and their families during NASA's race to the moon. This movie does well in that respect. Claire Foy does an amazing job of making you feel with her and for her. The POV in the launch sequences is terrific. You almost feel like you're in the cockpit with Armstrong as he's launching into space. Really well done.
Now, the bad.
- It was slow, and probably too long.
- Ryan Gosling has exactly one facial expression throughout the entire movie. He goes through the proper emotions, but his face does not. Even when he's crying over the death of his daughter, the only thing that changes about his face is the added tears.
- The sound mixing was terrible. The effects were turned up far too high and the voices far too low, to the point where I sometimes couldn't hear what was being said, and as a result I definitely missed some partial conversations. This is one of my biggest movie pet peeves.
Overall, I enjoyed the movie, but it's not one I'd need to watch again down the road.
Now, the bad.
- It was slow, and probably too long.
- Ryan Gosling has exactly one facial expression throughout the entire movie. He goes through the proper emotions, but his face does not. Even when he's crying over the death of his daughter, the only thing that changes about his face is the added tears.
- The sound mixing was terrible. The effects were turned up far too high and the voices far too low, to the point where I sometimes couldn't hear what was being said, and as a result I definitely missed some partial conversations. This is one of my biggest movie pet peeves.
Overall, I enjoyed the movie, but it's not one I'd need to watch again down the road.
Sarah (7798 KP) rated Unsane (2018) in Movies
Feb 5, 2019
Starts off well, but with a poor ending
I’ll start off by saying I’m really impressed with the fact that this was filmed on a iPhone. Yes it’s pretty obvious in parts that it’s been done on a phone, and it gives the film a certain look, but I quite liked it. It really fit in with the overall tone of the film.
Claire Foy is a great actress and she is one of the main reasons this is watchable, and there’s a fun cameo from Matt Damon. The story itself starts off well and the first half of the film is actually very intriguing and thrilling. It makes you wonder what’s going on and it’s quite creepy and disturbing. The main problem with this film though is that the second half is a massive letdown. It wasn’t the ending that I’d expected or hoped for, and it was beyond predictable and just a bit ridiculous. It’s such a shame that the ending is stupid, as otherwise this would be a great film.
Claire Foy is a great actress and she is one of the main reasons this is watchable, and there’s a fun cameo from Matt Damon. The story itself starts off well and the first half of the film is actually very intriguing and thrilling. It makes you wonder what’s going on and it’s quite creepy and disturbing. The main problem with this film though is that the second half is a massive letdown. It wasn’t the ending that I’d expected or hoped for, and it was beyond predictable and just a bit ridiculous. It’s such a shame that the ending is stupid, as otherwise this would be a great film.
Erika (17788 KP) rated The Girl in the Spider's Web (2018) in Movies
Nov 10, 2018
For starters, I haven't bothered to read this book, or the next book that weren't written by Stieg Larsson... If this film is any indication of how the book was... I'm glad I didn't waste the time.
There's nothing really wrong with the film, per say, it's an interesting thriller. It really wasn't the Lisbeth Salander I remember, she's been changed into just a bland, strong female character with an edgy look.
It was a strange move for Sony to skip the rest of the original trilogy. I thought Rooney Mara was a fantastic Salander, and I thought Daniel Craig did alright.
Claire Foy did alright, I guess, if that was the script she was given. Still, I couldn't help but compare her, and I don't think I'm the only one that will do that. I did really like Sverrir Gudnason as Blomkvist.
The opening credits tried so hard to be like GWTDT, but failed, and it kind of annoyed me that they even attempted it. Sorry but, you can't compete with a Trent Reznor and KO cover of the Immigrant Song.
There's nothing really wrong with the film, per say, it's an interesting thriller. It really wasn't the Lisbeth Salander I remember, she's been changed into just a bland, strong female character with an edgy look.
It was a strange move for Sony to skip the rest of the original trilogy. I thought Rooney Mara was a fantastic Salander, and I thought Daniel Craig did alright.
Claire Foy did alright, I guess, if that was the script she was given. Still, I couldn't help but compare her, and I don't think I'm the only one that will do that. I did really like Sverrir Gudnason as Blomkvist.
The opening credits tried so hard to be like GWTDT, but failed, and it kind of annoyed me that they even attempted it. Sorry but, you can't compete with a Trent Reznor and KO cover of the Immigrant Song.
Sarah (7798 KP) rated The Girl in the Spider's Web (2018) in Movies
Jul 21, 2019
Lackluster
I'm really not sure what prompted them to make this film. Instead of following on from the American version of Dragon Tattoo, they've instead chosen to skip the other 2 books in the original trilogy and go to what is probably the weakest book in the Lisbeth Salander series so far. And sadly, the film isnt any better.
Claire Foy is probably the only real highlight of this film as she's really rather good as Lisbeth. The rest of the cast are alright but nothing special though. There also doesn't appear to be much chemistry between Lisbeth and Mikhael and their conversations and interactions in this film are really rather dull and meaningless. And then there's the plot itself. Similar to the book, the plot is quite convoluted and a little over the top. And actually rather boring and lacklustre. There are some bits of action thrown in but not enough to hold interest and this film feels like it drags on for far too long. This is yet another unnecessary film made worse by the fact that they havent even bothered to follow the series in order.
Claire Foy is probably the only real highlight of this film as she's really rather good as Lisbeth. The rest of the cast are alright but nothing special though. There also doesn't appear to be much chemistry between Lisbeth and Mikhael and their conversations and interactions in this film are really rather dull and meaningless. And then there's the plot itself. Similar to the book, the plot is quite convoluted and a little over the top. And actually rather boring and lacklustre. There are some bits of action thrown in but not enough to hold interest and this film feels like it drags on for far too long. This is yet another unnecessary film made worse by the fact that they havent even bothered to follow the series in order.
JT (287 KP) rated The Girl in the Spider's Web (2018) in Movies
Mar 10, 2020
It would be a major change for any actress. But for Claire Foy, to go from the beauty and elegance of Elizabeth II in The Crown, to punked out gothic hacker in The Girl in the Spider’s Web takes some doing – and she adapts to it extremely well.
The film is based on the novel written by David Lagercrantz after original writer Stig Larsson’s death. It attempted to restart the series which had become very popular, especially with the original films starring Noomi Rapace. These were held in high regard and the decision to remake The Girl with the Dragon Tattoo was met with cautious scepticism.
But where David Fincher’s remake was dark and unnerving Fede Alvarez‘s Spider’s Web is stylish and explosive. Filled with gadgets and a variety of hacking abilities that wouldn’t look out of place within the world of James Bond or Mission Impossible, the film doesn’t provide enough sinister thrills. Instead, it pumps out several action set pieces, that while thoroughly entertaining, leave behind the trauma and shock value of Dragon Tattoo and subsequent originals.
Filled with gadgets and a variety of hacking abilities that wouldn’t look out of place within the world of James Bond or Mission Impossible
After an opening that provides plenty of back story surrounding Lisbeth’s childhood, we’re fast-forwarded into the high-tech world. Here a computer programme that can access virtually any nuclear codes in the world has been created by a now remorseful tech whiz (Stephen Merchant) who wants to help destroy it. With a number of people interested in the program, Lisbeth must go on the run and at the same time dig up her past in order to save the world.
This incarnation of Lisbeth Salander feels like a softer version compared with the portrayal by Rapace and 2011’s Rooney Mara. Yet the character is played with gusto by Foy who delivers her lines with a determined grittiness. The film’s plot while somewhat far fetched, is still an enjoyable ride.
The film is based on the novel written by David Lagercrantz after original writer Stig Larsson’s death. It attempted to restart the series which had become very popular, especially with the original films starring Noomi Rapace. These were held in high regard and the decision to remake The Girl with the Dragon Tattoo was met with cautious scepticism.
But where David Fincher’s remake was dark and unnerving Fede Alvarez‘s Spider’s Web is stylish and explosive. Filled with gadgets and a variety of hacking abilities that wouldn’t look out of place within the world of James Bond or Mission Impossible, the film doesn’t provide enough sinister thrills. Instead, it pumps out several action set pieces, that while thoroughly entertaining, leave behind the trauma and shock value of Dragon Tattoo and subsequent originals.
Filled with gadgets and a variety of hacking abilities that wouldn’t look out of place within the world of James Bond or Mission Impossible
After an opening that provides plenty of back story surrounding Lisbeth’s childhood, we’re fast-forwarded into the high-tech world. Here a computer programme that can access virtually any nuclear codes in the world has been created by a now remorseful tech whiz (Stephen Merchant) who wants to help destroy it. With a number of people interested in the program, Lisbeth must go on the run and at the same time dig up her past in order to save the world.
This incarnation of Lisbeth Salander feels like a softer version compared with the portrayal by Rapace and 2011’s Rooney Mara. Yet the character is played with gusto by Foy who delivers her lines with a determined grittiness. The film’s plot while somewhat far fetched, is still an enjoyable ride.
BankofMarquis (1832 KP) rated The Electrical Life of Louis Wain (2021) in Movies
Jan 17, 2022
1/2 of a GREAT Movie
It is a fun surprise to be perusing all the streaming services available and tripping across a very entertaining film that, heretofore, was unknown.
Such was the case with THE ELECTRICAL LIFE OF LOUIS WAIN - a biography (of sorts) of the eponymous English painter, known for his fanciful portraits of cats.
Starring Benedict Cumberbatch (in the title role) and Written and Directed by Will Sharpe (BLACK POND) based on a story by Simon Stephenson (who also co-wrote the screenplay with Sharpe), THE ELECTICAL LIFE OF LOUIS WAIN is 1/2 of a very good (maybe even GREAT) film that falls apart in the 2nd half.
The first half of this film finds the eccentric Wain finding love and discovering his artistic talent. It is this 1/2 of the film that draws you in - and must have been what drew the talents of Sharpe, Claire Foy (Queen Elizabeth in the first few seasons of THE CROWN) and Cumberbatch to this film. Cumberbatch, of course, is superb as Wain (especially in this first half) and his chemistry with Foy (who plays his love interest/wife) is tremendous and IS the reason to see this film.
However, the film shifts focus, by necessity, in the 2nd half to the rising stardom of Wain and his descent into madness. Toby Jones (as his benefactor) and the always under-rated Andrea Riseborough (OBLIVION) take center stage with Cumberbatch in this part of the film and the love, fun, whimsey and depth of the first 1/2 of the film disappears. Riseborough, particularly, suffers from a poorly written role where her character - Wain’s disapproving sister - is (in essence) the “bad guy”, so Sharpe and Stephenson replace love, warmth and support with disapproval, anger and madness. While this is true to the life that Wain lived, it didn’t make for a particularly interesting 2nd half of a film.
Come for Benedict’s and Foy’s chemistry and performances, stay for the rest because…well…it’s still pretty good.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank (ofMarquis)
Such was the case with THE ELECTRICAL LIFE OF LOUIS WAIN - a biography (of sorts) of the eponymous English painter, known for his fanciful portraits of cats.
Starring Benedict Cumberbatch (in the title role) and Written and Directed by Will Sharpe (BLACK POND) based on a story by Simon Stephenson (who also co-wrote the screenplay with Sharpe), THE ELECTICAL LIFE OF LOUIS WAIN is 1/2 of a very good (maybe even GREAT) film that falls apart in the 2nd half.
The first half of this film finds the eccentric Wain finding love and discovering his artistic talent. It is this 1/2 of the film that draws you in - and must have been what drew the talents of Sharpe, Claire Foy (Queen Elizabeth in the first few seasons of THE CROWN) and Cumberbatch to this film. Cumberbatch, of course, is superb as Wain (especially in this first half) and his chemistry with Foy (who plays his love interest/wife) is tremendous and IS the reason to see this film.
However, the film shifts focus, by necessity, in the 2nd half to the rising stardom of Wain and his descent into madness. Toby Jones (as his benefactor) and the always under-rated Andrea Riseborough (OBLIVION) take center stage with Cumberbatch in this part of the film and the love, fun, whimsey and depth of the first 1/2 of the film disappears. Riseborough, particularly, suffers from a poorly written role where her character - Wain’s disapproving sister - is (in essence) the “bad guy”, so Sharpe and Stephenson replace love, warmth and support with disapproval, anger and madness. While this is true to the life that Wain lived, it didn’t make for a particularly interesting 2nd half of a film.
Come for Benedict’s and Foy’s chemistry and performances, stay for the rest because…well…it’s still pretty good.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank (ofMarquis)
Bob Mann (459 KP) rated The Girl in the Spider's Web (2018) in Movies
Sep 28, 2021
Would the last straight woman in Stockholm turn off the lights?
You’ve gotta love a Scandi-thriller. Well, that was until last year’s hopeless Michael Fassbender vehicle “The Snowman” which devalued the currency better than Brexit has done to the pound! The mother of them all though was the original “Girl with the Dragon Tattoo” trilogy (in Swedish) in 2009. Although subject to a wholly unnecessary English remake two year’s later by David Fincher (with Mara Rooney and Daniel Craig) it was Noomi Rapace who struck the perfect note as the original anarchic and damaged Lisbeth Salander: a punk wielding a baseball bat like an alien-thing possessed (pun well and truly intended!).
Now though we have “A New Dragon Tattoo Story” (as the film’s subtitle clumsily declares) based on the book by David Lagercrantz, who took over the literary franchise after the untimely death of Stieg Larsson. Picking up the reins as Salander is that most British of actresses Claire Foy…. which seems an odd choice, but one which – after you get past the rather odd accent – she just about pulls off.
The Plot
Lizbeth Salendar (Claire Foy) has an interesting hobby. She is a vigilante, like a lesbian Batman, stalking the streets of Stockholm putting wrongs right where abusive boyfriends/husbands are concerned.
She is also a hacking machine for rent. And Frans Balder (Stephen Merchant) has a problem. He has invented a software program that allows its user to control every nuclear warhead in the world from a single laptop (cue every other Bond/24/Austin Powers script ever written). But he has had second thoughts and wants it back from its resting place on the server of the NSA’s chief hacker, Ed Needham (Lakeith Stanfield). Balder recruits Salander to recover it, but when things go pear-shaped Salander finds herself on the wrong side of both the law and the encircling terrorist “spiders”.
The Review
Scandi-dramas work best when they exploit the snow; maintain a sexual tension; and go dark, gritty and violent. On the plus side, “The Girl in the Spider’s Web” ticks most of those boxes adequately. Foy’s Salandar is smart, sassy and sexy, outwitting the best of the best, and only once finding her intellectual match. (If you’re a lesbian, Stockholm is most definitely the place to be: there only seemed to be one hetero-female there, and she was an adulteress).
But Salander also has a Bond-like invincibility that unfortunately tests your incredulity at multiple points. Contributing to the excitement is the stunt team, who keep themselves busy with some great car and bike chases.
So, the movie has its moments and is great to look at. But the film ends up a sandwich or two short of a smorgasbord, thanks largely to some totally bonkers plot points and more than a few ridiculous coincidences. There are without doubt an array of well-constructed set pieces here, but they fail to fully connect with any great conviction. An example of a scene that infuriates is a dramatic bathroom fight in a red-lit gloom with identical protagonists that is cut together so furiously you would need a Blu-ray slo-mo to work out what the hell is going on… and then I fear you might fail.
So it’s an A- for the Production Design (Eve Stewart, “The Danish Girl“) and the Cinematography (Pedro Luque, “Don’t Breathe“), but a C- for the director Fede Alvarez (also “Don’t Breathe“).
Avoid the Trailer
I will save my biggest source of wrath though for that major bug-bear of mine: trailers that spoil the plot.
I’ve asked before, but for a film like this, WHO EXACTLY PUTS TOGETHER THE TRAILER? I’d like to think it’s some mindless committee of marketing execs somewhere. Because I HONESTLY CAN’T BELIEVE it would be the director! (If I’m wrong though, I would point my finger at Mr Alvarez and chant “shame, shame, shame”!)
For the trailer that I saw playing in UK cinemas does it’s level best to not only drop in the key spoilers of the plot (including the climactic scene), but also spoils just about every action money-shot in the movie. It’s all so pointless. If you’ve by any chance managed to get to this point without seeing the trailer, then SAVE YOURSELVES and AVOID IT!
(The one attached below by the way is slightly – slightly! – better, including some over-dubbing of a line that I don’t think was in the film. Perhaps they realised their huge mistake and reissued it?)
The Turns
As I mentioned earlier, Claire Foy again extends her range by playing Salander really well. She is the reason to go and see the film.
The Daniel Craig part of Blomkvist is played here by Sverrir Gudnason, who was in “The Circle” (which I saw) and was Borg in “Borg McEnroe” (which I didn’t). Blomkvist really is a lazy ****, since he works for the publication “Millenium” but writes absolutely nothing for years. It must be only because the boss (Vicky Krieps) fancies him that he keeps his job. Gudnason is good enough, but has very little to do in the movie: its the Salander/Foy show. Slightly, but only slightly, more involved is Lakeith Standfield as the US intelligence man.
Given little to do in the plot. Sverrir Gudnason as the incredibly unproductive ‘journalist’ Mikael Blomkvist. (Source: Sony Pictures Entertainment)
Stephen Merchant is an odd casting choice for Balder. Not withstanding that he was brilliant when almost unrecognisable in “Logan“, here he looks far too much like his “Ricky Gervais sidekick” persona to be taken seriously: and it’s not even remotely a comedy (there is only one humorous moment in the film, a nice “clicker” gag in a car park).
Final Thoughts
I had high hopes for this film from the trailer, but I was left disappointed. It’s not classic Scandi-noir like the original “Tattoo”; and it’s not going for the black comedy angle of “Headhunters” (which I saw again last week and loved… again!). It falls into a rather “meh” category. It’s not a bad evening’s watch, but perhaps worth leaving for a DVD/cable showing.
Now though we have “A New Dragon Tattoo Story” (as the film’s subtitle clumsily declares) based on the book by David Lagercrantz, who took over the literary franchise after the untimely death of Stieg Larsson. Picking up the reins as Salander is that most British of actresses Claire Foy…. which seems an odd choice, but one which – after you get past the rather odd accent – she just about pulls off.
The Plot
Lizbeth Salendar (Claire Foy) has an interesting hobby. She is a vigilante, like a lesbian Batman, stalking the streets of Stockholm putting wrongs right where abusive boyfriends/husbands are concerned.
She is also a hacking machine for rent. And Frans Balder (Stephen Merchant) has a problem. He has invented a software program that allows its user to control every nuclear warhead in the world from a single laptop (cue every other Bond/24/Austin Powers script ever written). But he has had second thoughts and wants it back from its resting place on the server of the NSA’s chief hacker, Ed Needham (Lakeith Stanfield). Balder recruits Salander to recover it, but when things go pear-shaped Salander finds herself on the wrong side of both the law and the encircling terrorist “spiders”.
The Review
Scandi-dramas work best when they exploit the snow; maintain a sexual tension; and go dark, gritty and violent. On the plus side, “The Girl in the Spider’s Web” ticks most of those boxes adequately. Foy’s Salandar is smart, sassy and sexy, outwitting the best of the best, and only once finding her intellectual match. (If you’re a lesbian, Stockholm is most definitely the place to be: there only seemed to be one hetero-female there, and she was an adulteress).
But Salander also has a Bond-like invincibility that unfortunately tests your incredulity at multiple points. Contributing to the excitement is the stunt team, who keep themselves busy with some great car and bike chases.
So, the movie has its moments and is great to look at. But the film ends up a sandwich or two short of a smorgasbord, thanks largely to some totally bonkers plot points and more than a few ridiculous coincidences. There are without doubt an array of well-constructed set pieces here, but they fail to fully connect with any great conviction. An example of a scene that infuriates is a dramatic bathroom fight in a red-lit gloom with identical protagonists that is cut together so furiously you would need a Blu-ray slo-mo to work out what the hell is going on… and then I fear you might fail.
So it’s an A- for the Production Design (Eve Stewart, “The Danish Girl“) and the Cinematography (Pedro Luque, “Don’t Breathe“), but a C- for the director Fede Alvarez (also “Don’t Breathe“).
Avoid the Trailer
I will save my biggest source of wrath though for that major bug-bear of mine: trailers that spoil the plot.
I’ve asked before, but for a film like this, WHO EXACTLY PUTS TOGETHER THE TRAILER? I’d like to think it’s some mindless committee of marketing execs somewhere. Because I HONESTLY CAN’T BELIEVE it would be the director! (If I’m wrong though, I would point my finger at Mr Alvarez and chant “shame, shame, shame”!)
For the trailer that I saw playing in UK cinemas does it’s level best to not only drop in the key spoilers of the plot (including the climactic scene), but also spoils just about every action money-shot in the movie. It’s all so pointless. If you’ve by any chance managed to get to this point without seeing the trailer, then SAVE YOURSELVES and AVOID IT!
(The one attached below by the way is slightly – slightly! – better, including some over-dubbing of a line that I don’t think was in the film. Perhaps they realised their huge mistake and reissued it?)
The Turns
As I mentioned earlier, Claire Foy again extends her range by playing Salander really well. She is the reason to go and see the film.
The Daniel Craig part of Blomkvist is played here by Sverrir Gudnason, who was in “The Circle” (which I saw) and was Borg in “Borg McEnroe” (which I didn’t). Blomkvist really is a lazy ****, since he works for the publication “Millenium” but writes absolutely nothing for years. It must be only because the boss (Vicky Krieps) fancies him that he keeps his job. Gudnason is good enough, but has very little to do in the movie: its the Salander/Foy show. Slightly, but only slightly, more involved is Lakeith Standfield as the US intelligence man.
Given little to do in the plot. Sverrir Gudnason as the incredibly unproductive ‘journalist’ Mikael Blomkvist. (Source: Sony Pictures Entertainment)
Stephen Merchant is an odd casting choice for Balder. Not withstanding that he was brilliant when almost unrecognisable in “Logan“, here he looks far too much like his “Ricky Gervais sidekick” persona to be taken seriously: and it’s not even remotely a comedy (there is only one humorous moment in the film, a nice “clicker” gag in a car park).
Final Thoughts
I had high hopes for this film from the trailer, but I was left disappointed. It’s not classic Scandi-noir like the original “Tattoo”; and it’s not going for the black comedy angle of “Headhunters” (which I saw again last week and loved… again!). It falls into a rather “meh” category. It’s not a bad evening’s watch, but perhaps worth leaving for a DVD/cable showing.
Lucy Buglass (45 KP) rated The Girl in the Spider's Web (2018) in Movies
Jun 20, 2019
Disappointingly Average
I love The Girl With The Dragon Tattoo series. The Swedish films are excellent and David Fincher’s US adaptation was a decent watch too. Lisbeth Salander is such an iconic and well-written character, so her return to the big screen was met with much anticipation. With a new cast and new story I was looking forward to seeing it, catching a Limitless preview screening a few days before its general UK release. Unfortunately, it didn’t live up to my relatively high expectations.
The biggest insult to this film is its trailer. It gives away EVERYTHING so if you’ve seen the trailer, you’ve basically seen the entire film condensed down into a few minutes. All the best scenes and key moments have been awkwardly crammed into its promotion, to the point where I was able to predict exactly what was going to happen. I felt very let down by this and it seriously ruined my ability to enjoy the film properly. It deserved a much more ambiguous trailer, letting the mystery be revealed throughout the full narrative instead.
The film is redeemed somewhat by the performances. Claire Foy is a fantastic Lisbeth Salander, putting her all into this performance and fully embodying the badass, bisexual cyber-hacker that we all know and love. She is slick, smart and sexually charged, and is a worthy successor to both Noomi Rapace and Rooney Mara. If anything, Foy deserved a better film because this story really didn’t do her much justice and that’s not her fault.
It was also interesting to see British comedian Stephen Merchant in a much more serious role, proving that he is able to step out of his comfort zone. His character, Frans Balder, is a complex one despite his lack of screen time, and I was convinced by his take on the character. Despite his relatively small role, I found him more interesting than some of the main characters.
Security expert Edwin Needham is utterly forgettable, and his character wasn’t strong enough to get much interest from me. In a similar vein, Millenium journalist Mikael Blomkvist barely even made an appearance and considering he’s been a key character in the novels and in Lisbeth’s life, this was disappointing for me. I haven’t read the novel yet so I’m unsure if this is true to the original story, but it was a shame he didn’t feature more.
Because this film focuses primarily on Salander and twin sister, Camilla, I was relieved that I at least enjoyed scenes featuring the two of them. Sylvia Hoeks is a terrifying and powerful on-screen presence, from her mannerisms to her costume design. The fractured relationship between the two sisters is fascinating and runs deep, but seems to be glossed over at times. Foy and Hoeks did their best with the script they had, but I still found the narrative jumbled and rushed in places, favouring drawn-out action over scenes with any real substance.
Sure, the action sequences are well-shot and full of adrenaline but when they replace actual narrative coherence, we have a problem. There’s too much going on, there’s plot holes, and filler scenes that really didn’t need to be there. I know two hours isn’t really a lot of screen time to play with, but it could’ve been so much better than this.
The Girl In The Spider’s Web is nothing like the complex thriller I was expecting it to be, cramming far too much into its runtime and leaving me feeling dissatisfied. It’s entertaining in its own way and if you’re mainly looking looking for chase sequences, fast cars and action, then you’ll probably have a good time. There are some great scenes and lines of dialogue, but not enough to fully redeem itself. I don’t necessarily regret watching it, but I won’t be watching again. It’s a forgettable action film.
If you want to see Lisbeth Salander and co. at their best, catch the Swedish films instead.
https://lucygoestohollywood.com/2018/11/28/disappointingly-average-a-review-of-the-girl-in-the-spiders-web/
The biggest insult to this film is its trailer. It gives away EVERYTHING so if you’ve seen the trailer, you’ve basically seen the entire film condensed down into a few minutes. All the best scenes and key moments have been awkwardly crammed into its promotion, to the point where I was able to predict exactly what was going to happen. I felt very let down by this and it seriously ruined my ability to enjoy the film properly. It deserved a much more ambiguous trailer, letting the mystery be revealed throughout the full narrative instead.
The film is redeemed somewhat by the performances. Claire Foy is a fantastic Lisbeth Salander, putting her all into this performance and fully embodying the badass, bisexual cyber-hacker that we all know and love. She is slick, smart and sexually charged, and is a worthy successor to both Noomi Rapace and Rooney Mara. If anything, Foy deserved a better film because this story really didn’t do her much justice and that’s not her fault.
It was also interesting to see British comedian Stephen Merchant in a much more serious role, proving that he is able to step out of his comfort zone. His character, Frans Balder, is a complex one despite his lack of screen time, and I was convinced by his take on the character. Despite his relatively small role, I found him more interesting than some of the main characters.
Security expert Edwin Needham is utterly forgettable, and his character wasn’t strong enough to get much interest from me. In a similar vein, Millenium journalist Mikael Blomkvist barely even made an appearance and considering he’s been a key character in the novels and in Lisbeth’s life, this was disappointing for me. I haven’t read the novel yet so I’m unsure if this is true to the original story, but it was a shame he didn’t feature more.
Because this film focuses primarily on Salander and twin sister, Camilla, I was relieved that I at least enjoyed scenes featuring the two of them. Sylvia Hoeks is a terrifying and powerful on-screen presence, from her mannerisms to her costume design. The fractured relationship between the two sisters is fascinating and runs deep, but seems to be glossed over at times. Foy and Hoeks did their best with the script they had, but I still found the narrative jumbled and rushed in places, favouring drawn-out action over scenes with any real substance.
Sure, the action sequences are well-shot and full of adrenaline but when they replace actual narrative coherence, we have a problem. There’s too much going on, there’s plot holes, and filler scenes that really didn’t need to be there. I know two hours isn’t really a lot of screen time to play with, but it could’ve been so much better than this.
The Girl In The Spider’s Web is nothing like the complex thriller I was expecting it to be, cramming far too much into its runtime and leaving me feeling dissatisfied. It’s entertaining in its own way and if you’re mainly looking looking for chase sequences, fast cars and action, then you’ll probably have a good time. There are some great scenes and lines of dialogue, but not enough to fully redeem itself. I don’t necessarily regret watching it, but I won’t be watching again. It’s a forgettable action film.
If you want to see Lisbeth Salander and co. at their best, catch the Swedish films instead.
https://lucygoestohollywood.com/2018/11/28/disappointingly-average-a-review-of-the-girl-in-the-spiders-web/
Emma @ The Movies (1786 KP) rated Unsane (2018) in Movies
Sep 25, 2019
A young woman is involuntarily committed to a mental institution, where she is confronted by her greatest fear--but is it real or a product of her delusion?
I really was torn about going to see this one. Part of me thought that I would come out entirely paranoid with ideas racing around my head that every one was out to get me. But I needn't have worried. I actually came out rather bored. My Fitbit agreed and actually registered me as asleep for an hour of it
First off, Claire Foy did do an amazing job. Regardless of how I found the movie itself she was probably the reason I managed to stay through it.
I was surprised how much I wanted to leave. I was creating shopping lists in my head. Wondering how on earth you move to another state to escape your stalker, but don't change your name. I was trying to fathom how Sawyer would willingly throw away another human life, even of a woman who had been tormenting her. I wondered a lot of things during, and about, this film.
Some films make me jumpy. While debating whether to attend the showing I was considering the fact that I'd be jumping out of my seat and scaring the life out of the person next to me. In the end this wasn't something that I even had to consider. I was left a little amazed that the trailer had managed to create this feeling of fear in me, yet the whole film left me feeling... nothing.
What disappoints me about this movie the most is that the story line left me so cold that I really felt that the ingenuity of filming it on an iPhone was completely lost. While the occasional Blair Witch-esque movements annoyed me you wouldn't have known that what you were watching was anything other than a "traditionally" filmed movie. At this point I think I'd be more excited about seeing a documentary about how it was made than how I felt about the actual film.
I really was torn about going to see this one. Part of me thought that I would come out entirely paranoid with ideas racing around my head that every one was out to get me. But I needn't have worried. I actually came out rather bored. My Fitbit agreed and actually registered me as asleep for an hour of it
First off, Claire Foy did do an amazing job. Regardless of how I found the movie itself she was probably the reason I managed to stay through it.
I was surprised how much I wanted to leave. I was creating shopping lists in my head. Wondering how on earth you move to another state to escape your stalker, but don't change your name. I was trying to fathom how Sawyer would willingly throw away another human life, even of a woman who had been tormenting her. I wondered a lot of things during, and about, this film.
Some films make me jumpy. While debating whether to attend the showing I was considering the fact that I'd be jumping out of my seat and scaring the life out of the person next to me. In the end this wasn't something that I even had to consider. I was left a little amazed that the trailer had managed to create this feeling of fear in me, yet the whole film left me feeling... nothing.
What disappoints me about this movie the most is that the story line left me so cold that I really felt that the ingenuity of filming it on an iPhone was completely lost. While the occasional Blair Witch-esque movements annoyed me you wouldn't have known that what you were watching was anything other than a "traditionally" filmed movie. At this point I think I'd be more excited about seeing a documentary about how it was made than how I felt about the actual film.