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Phillip McSween (751 KP) rated The Godfather (1972) in Movies
Dec 3, 2018
Epic Indeed
What makes a film stand the test of time? How do you create a movie that will have the same impact today as it will fifty years from now? That’s almost how long it’s been since The Godfather was released. Can you believe that? It was a classic then and still remains to be so. It follows the story of the Corleone family, a prominent mob family in New York. Michael (Al Pacino), youngest son of Godfather Vito (Marlon Brando), is trying to stay away from the “family business” but finds himself thrust right in the middle after a mob war erupts.
Acting: 10You couldn’t ask for a better cast than within that of The Godfather. Brando captures your attention from jump, smooth yet broiling with passion. He comes off as the type that can handle any situation but doesn’t need to do so to prove himself.
Pacino is phenomenal in his role as Michael. You can feel the weight of his innocence as he finds himself in the middle of things he vowed to stay away from. One of my favorite scenes involves him having to kill someone in a restaurant. When he goes to the bathroom to grab the gun (where it’s stashed in a stall), he is pacing and nervous. As a viewer, you can sense his struggle. He knows that once he does this, there is no going back. It’s incredible to watch his transformation over time as he ascends to power. You can see him becoming what his father was.
Beginning: 10
Characters: 10
Vito and Michael are just a taste of the rich characters that keep the film fresh even to this day. You’ve got Sonny the firstborn, quick to drop a hit or do whatever it takes to protect his family. You find out exactly what that means when he confronts his sister’s abusive husband in the streets threatening to blow his head off.
Then you have a guy like Tom Hagen, the soft-spoken consigliere of the family. He brings a voice of reason to the chaos surrounding the Corleone family. He wants badly to be an official part of the family but can’t because of his Irish descent. As a result, it makes him work twice as hard.
These characters aren’t just one-dimensional, but they carry enough layers to singlehandedly move their own story. Through each of these characters you understand what it means to be a Corleone and how each of them play a specific part to complete the whole.
Cinematography/Visuals: 10
Conflict: 10
If the characters are what enhance the movie, conflict is what ultimately drives it. Sometimes the intensity is subtle while other times it’s loud and boisterous. It’s always there because you understand as a viewer that lives are always on the line, always at stake. The mafia families are playing for power and, most importantly, they are playing for keeps. There are so many great action sequences that stick out in my mind. There is no shortage of death and every death in this film comes with a meaning and a price.
Genre: 10
Memorability: 10
Pace: 10
When a movie is pushing three hours or goes 3+, I’m usually thinking how they could have shortened things. Not only was the runtime necessary here, but The Godfather runs at a consistent smooth pace. It manages itself by keeping you on high alert in some scenes then reining you back in for the next scene.
I remember watching one intense scene where Michael was protecting his father in the hospital. I remember thinking, “Thank God the entire movie is not like this! I would have a heartattack.” Though the film is long, I would have gladly watched another hour if it had been tacked on.
Plot: 9
Enough of the love fest. Time for my one itty bitty gripe. There were a couple of occasions where I found it difficult to keep up with the families, in some cases the Corleones themselves. The plot tripped me up in spots but it was nothing close to ruining an amazing experience.
Resolution: 10The ending of this film is one for the ages, a powerful scene that will stand out in your mind for a long time. It’s the passing of a torch, but the way is unfolds is just so damn cool! I don’t want to ruin it for those that haven’t seen, but for those that have, you know exactly what I mean.
Overal: 99
Classic. I can’t believe it took me this long to watch it. I have to say, it was well worth the wait.
Acting: 10You couldn’t ask for a better cast than within that of The Godfather. Brando captures your attention from jump, smooth yet broiling with passion. He comes off as the type that can handle any situation but doesn’t need to do so to prove himself.
Pacino is phenomenal in his role as Michael. You can feel the weight of his innocence as he finds himself in the middle of things he vowed to stay away from. One of my favorite scenes involves him having to kill someone in a restaurant. When he goes to the bathroom to grab the gun (where it’s stashed in a stall), he is pacing and nervous. As a viewer, you can sense his struggle. He knows that once he does this, there is no going back. It’s incredible to watch his transformation over time as he ascends to power. You can see him becoming what his father was.
Beginning: 10
Characters: 10
Vito and Michael are just a taste of the rich characters that keep the film fresh even to this day. You’ve got Sonny the firstborn, quick to drop a hit or do whatever it takes to protect his family. You find out exactly what that means when he confronts his sister’s abusive husband in the streets threatening to blow his head off.
Then you have a guy like Tom Hagen, the soft-spoken consigliere of the family. He brings a voice of reason to the chaos surrounding the Corleone family. He wants badly to be an official part of the family but can’t because of his Irish descent. As a result, it makes him work twice as hard.
These characters aren’t just one-dimensional, but they carry enough layers to singlehandedly move their own story. Through each of these characters you understand what it means to be a Corleone and how each of them play a specific part to complete the whole.
Cinematography/Visuals: 10
Conflict: 10
If the characters are what enhance the movie, conflict is what ultimately drives it. Sometimes the intensity is subtle while other times it’s loud and boisterous. It’s always there because you understand as a viewer that lives are always on the line, always at stake. The mafia families are playing for power and, most importantly, they are playing for keeps. There are so many great action sequences that stick out in my mind. There is no shortage of death and every death in this film comes with a meaning and a price.
Genre: 10
Memorability: 10
Pace: 10
When a movie is pushing three hours or goes 3+, I’m usually thinking how they could have shortened things. Not only was the runtime necessary here, but The Godfather runs at a consistent smooth pace. It manages itself by keeping you on high alert in some scenes then reining you back in for the next scene.
I remember watching one intense scene where Michael was protecting his father in the hospital. I remember thinking, “Thank God the entire movie is not like this! I would have a heartattack.” Though the film is long, I would have gladly watched another hour if it had been tacked on.
Plot: 9
Enough of the love fest. Time for my one itty bitty gripe. There were a couple of occasions where I found it difficult to keep up with the families, in some cases the Corleones themselves. The plot tripped me up in spots but it was nothing close to ruining an amazing experience.
Resolution: 10The ending of this film is one for the ages, a powerful scene that will stand out in your mind for a long time. It’s the passing of a torch, but the way is unfolds is just so damn cool! I don’t want to ruin it for those that haven’t seen, but for those that have, you know exactly what I mean.
Overal: 99
Classic. I can’t believe it took me this long to watch it. I have to say, it was well worth the wait.
Gareth von Kallenbach (965 KP) rated Us (2019) in Movies
Jul 2, 2019
We’ve all heard that somewhere out in the world there is a true Doppelganger for each and every one of us. An almost exact copy which may not behave the same but would otherwise be indistinguishable from the other. In a common instance a Doppelganger might be a set of identical twins who share the same DNA, or in pop culture references we might look to the definition of a Doppelganger in Dungeons and Dragons, defined as a monstrous humanoid able to change the shape and read the minds of their intended target to mimic them completely. Somewhere in the middle is where Jordan Peele’s latest masterpiece takes us.
The film begins in the mid 80’s, when Michael Jackson’s Thriller is topping the charts and Hands Across America was a very real idea (worth looking up for younger readers who may not even know what I’m talking about). A young Adelaide Wilson is exploring the boardwalk on a beach in Santa Cruz with her parents. When her father is distracted by a game of Whack a’ Mole something draws Adelaide down to the beach where she passes a man holding a sign referencing Jeremiah 11:11, one of the first messages that foreshadows what is to come. On the beach she encounters an empty and sinister looking hall of mirrors attraction. Wandering through the hall of mirrors a young Adelaide encounters a girl in the mirror, an exact duplicate of herself whose encounter is so traumatic that it leaves her unable to speak.
The film transitions to present day where the now adult Adelaide (Lupita Nyong’o) is traveling with her husband Gabriel (Winston Duke) and her two children Zora (Shahadi Wright Joseph) and youngest son Jason (Evan Alex) to her parents’ home near the beach in Santa Cruz. Adelaide has resisted going back to the very same boardwalk where she had encountered her doppelganger as a young child. With her husband and children pressing her to go to the beach, she reluctantly agrees as long as they promise to be home before dark. The day at the beach is relatively uneventful until it is nearing time to go home and the family has lost sight of young Jason. Adelaide in a panic frantically searches for him, finally finding him returning from the bathroom.
The incident, while minor, convinces Adelaide that they should never have come back and wants to leave immediately. Various subtle “coincidences” occur that leave her feeling as though a black cloud hangs over her and a sense of dread that something terrible is about to happen. Before the family turns in for the evening, Jason sees “A family” at the edge of their driveway. Gabriel attempts to get to the bottom of who these mysterious visitors are, only for a night of unimaginable terror to ensue.
Us takes queues from several other movie types, The Strangers, Night of the Living Dead and Invasion of the Body Snatchers mashing them together to weave its frightening (and often funny) tale. It takes a little time to gain momentum, but once it does It never once lets off the gas. While at first it seems nothing more than a home invasion from characters who look exactly like the Wilson family, it quickly grows into something substantially more terrifying. The backdrop varies between a somewhat isolated house in the woods, to the bustling beach, giving a sense of isolation even at the most crowded of places. The boardwalk is a place that is both wonderous and terrifying at the same time, reminiscent of the early scenes in the 80’s classic The Lost Boys. While lacking in both clowns or vampires, it holds its own secrets (and terrors).
Us is a movie that is unlike any other and is refreshing when stacked against similar fright films that have been released recently. If you are a fan of Jordan Peele’s Get Out, you will find a lot to like here as well. It maintains its dark humor without ever going over board and has plenty of thrills and scares to keep you on your toes at all times. It’s not a movie that will keep you up all night hiding under your covers, but it may cause you to rethink your next vacation to the beach or the boardwalk. In the end, I feel this is another film that is sure to become a cult classic, enjoyable for fans of the genre.
The film begins in the mid 80’s, when Michael Jackson’s Thriller is topping the charts and Hands Across America was a very real idea (worth looking up for younger readers who may not even know what I’m talking about). A young Adelaide Wilson is exploring the boardwalk on a beach in Santa Cruz with her parents. When her father is distracted by a game of Whack a’ Mole something draws Adelaide down to the beach where she passes a man holding a sign referencing Jeremiah 11:11, one of the first messages that foreshadows what is to come. On the beach she encounters an empty and sinister looking hall of mirrors attraction. Wandering through the hall of mirrors a young Adelaide encounters a girl in the mirror, an exact duplicate of herself whose encounter is so traumatic that it leaves her unable to speak.
The film transitions to present day where the now adult Adelaide (Lupita Nyong’o) is traveling with her husband Gabriel (Winston Duke) and her two children Zora (Shahadi Wright Joseph) and youngest son Jason (Evan Alex) to her parents’ home near the beach in Santa Cruz. Adelaide has resisted going back to the very same boardwalk where she had encountered her doppelganger as a young child. With her husband and children pressing her to go to the beach, she reluctantly agrees as long as they promise to be home before dark. The day at the beach is relatively uneventful until it is nearing time to go home and the family has lost sight of young Jason. Adelaide in a panic frantically searches for him, finally finding him returning from the bathroom.
The incident, while minor, convinces Adelaide that they should never have come back and wants to leave immediately. Various subtle “coincidences” occur that leave her feeling as though a black cloud hangs over her and a sense of dread that something terrible is about to happen. Before the family turns in for the evening, Jason sees “A family” at the edge of their driveway. Gabriel attempts to get to the bottom of who these mysterious visitors are, only for a night of unimaginable terror to ensue.
Us takes queues from several other movie types, The Strangers, Night of the Living Dead and Invasion of the Body Snatchers mashing them together to weave its frightening (and often funny) tale. It takes a little time to gain momentum, but once it does It never once lets off the gas. While at first it seems nothing more than a home invasion from characters who look exactly like the Wilson family, it quickly grows into something substantially more terrifying. The backdrop varies between a somewhat isolated house in the woods, to the bustling beach, giving a sense of isolation even at the most crowded of places. The boardwalk is a place that is both wonderous and terrifying at the same time, reminiscent of the early scenes in the 80’s classic The Lost Boys. While lacking in both clowns or vampires, it holds its own secrets (and terrors).
Us is a movie that is unlike any other and is refreshing when stacked against similar fright films that have been released recently. If you are a fan of Jordan Peele’s Get Out, you will find a lot to like here as well. It maintains its dark humor without ever going over board and has plenty of thrills and scares to keep you on your toes at all times. It’s not a movie that will keep you up all night hiding under your covers, but it may cause you to rethink your next vacation to the beach or the boardwalk. In the end, I feel this is another film that is sure to become a cult classic, enjoyable for fans of the genre.
Andy K (10821 KP) rated Doctor Sleep (2019) in Movies
Nov 9, 2019
A return to Room 237
***MINOR SPOILERS ONLY***
After the events which ruined his childhood at the Overlook Hotel, Dan Torrance has not had a profound life. He does drugs and has become addicted to alcohol. He decides to move to a small town where he tries to get his act together. He is still haunted by those events so long ago even seeing the ghost of long deceased Overlook cook Dick Hallorann who also possessed the ability to "shine". Dan always knew or assumed other in the world had the ability as well; however, had tried to lead a normal existence.
Meanwhile, a cult of soul swallowing degenerates emerges and preys on those who have the ability. Some not knowing their minor gifts are easy prey, but those who have remarkable abilities present more of a challenge. One of these such wunderkinds is 13 year old Abra Stone. Like Danny, she has had abilities all her life, her parents chose to ignore them, but now events are intensifying so profound she cannot ignore them. The cult leader, Rose The Hat, seeks out more victims for her flock to feed upon having an eventual confrontation with Abra.
***I don't want to say more so I don't ruin for anyone.***
I have decided when writing a review of a sequel of any kind, I will never refer to it as "unnecessary". I have read many recent critiques of movies like Zombieland: Double Tap or Maleficent: Mistress of Evil when this word is used and I don't agree with that as a criticism. People are only using that word if the sequel is a disappointment. Someone would never say The Empire Strikes Back or The Dark Knight were unnecessary because they were great films. Even mediocre sequels will get tagged with unnecessary and I guess I feel you should rate the film which was made on its own merits and not try to decide if it was worth making or not.
Much like the way 2010 tried to explain the monolith and the mystery from Kubrick's masterpiece and my favorite film of all time 2001: A Space Odyssey, Doctor Sleep explores and expands the "shining" universe and gives audiences another look into that world. I was reminded when watching for some reason the sequence in Ready Player One where the characters go back to the Overlook and interact with the unique setting and art direction the film possessed. The homages and settings in Doctor Sleep feel both modernized and a fond look back of what everyone loved from The Shining. I could tell writer/director Mike Flanagan loved this universe so intensely, he decided to adapt the Stephen King sequel novel and it is well done.
Most main characters from the original Shining film make an appearance here as well, most with smaller cameo type roles which I don't want to spoil here. The new characters of both Abra Stone and Rose The Hat are great additions and acting by Rebecca Ferguson (who is quickly becoming one of my faves) and young Kyliegh Curran really bring them to life. Other than the obvious Trainspotting, Ewan McGregor usually plays such happy and likable characters that it was interesting to see him in a darker light, especially at the beginning of the film.
The musical score felt much like The Shining at times (the best parts), but also foraged new ground and was truly haunting and beautiful throughout. The cinematography and art direction were beautiful when showing the dark forest and suburban landscapes as well as the recreation of some of the more familiar elements.
Doctor Sleep is the ceiling threshold of how good a sequel to a Kubrick classic iconic perfection piece of movie artwork onscreen. The feeling and fun of seeing new interpretations of classic characters was fine with me as the screenplay does them justice. Comparing it to The Shining is moot since Kubrick was the master and his films should be studied indefinitely by film students worldwide and Doctor Sleep is an admirable compliment to that.
I tried to find an instance where Kubrick made comment about the film 2010, but I could not other than he said he wished the director well with it. I would imagine he would have the same reaction here. I think he would feel his work stands on its own without need for further explanation or additional narrative, but that is not a criticism, just an observation.
After the events which ruined his childhood at the Overlook Hotel, Dan Torrance has not had a profound life. He does drugs and has become addicted to alcohol. He decides to move to a small town where he tries to get his act together. He is still haunted by those events so long ago even seeing the ghost of long deceased Overlook cook Dick Hallorann who also possessed the ability to "shine". Dan always knew or assumed other in the world had the ability as well; however, had tried to lead a normal existence.
Meanwhile, a cult of soul swallowing degenerates emerges and preys on those who have the ability. Some not knowing their minor gifts are easy prey, but those who have remarkable abilities present more of a challenge. One of these such wunderkinds is 13 year old Abra Stone. Like Danny, she has had abilities all her life, her parents chose to ignore them, but now events are intensifying so profound she cannot ignore them. The cult leader, Rose The Hat, seeks out more victims for her flock to feed upon having an eventual confrontation with Abra.
***I don't want to say more so I don't ruin for anyone.***
I have decided when writing a review of a sequel of any kind, I will never refer to it as "unnecessary". I have read many recent critiques of movies like Zombieland: Double Tap or Maleficent: Mistress of Evil when this word is used and I don't agree with that as a criticism. People are only using that word if the sequel is a disappointment. Someone would never say The Empire Strikes Back or The Dark Knight were unnecessary because they were great films. Even mediocre sequels will get tagged with unnecessary and I guess I feel you should rate the film which was made on its own merits and not try to decide if it was worth making or not.
Much like the way 2010 tried to explain the monolith and the mystery from Kubrick's masterpiece and my favorite film of all time 2001: A Space Odyssey, Doctor Sleep explores and expands the "shining" universe and gives audiences another look into that world. I was reminded when watching for some reason the sequence in Ready Player One where the characters go back to the Overlook and interact with the unique setting and art direction the film possessed. The homages and settings in Doctor Sleep feel both modernized and a fond look back of what everyone loved from The Shining. I could tell writer/director Mike Flanagan loved this universe so intensely, he decided to adapt the Stephen King sequel novel and it is well done.
Most main characters from the original Shining film make an appearance here as well, most with smaller cameo type roles which I don't want to spoil here. The new characters of both Abra Stone and Rose The Hat are great additions and acting by Rebecca Ferguson (who is quickly becoming one of my faves) and young Kyliegh Curran really bring them to life. Other than the obvious Trainspotting, Ewan McGregor usually plays such happy and likable characters that it was interesting to see him in a darker light, especially at the beginning of the film.
The musical score felt much like The Shining at times (the best parts), but also foraged new ground and was truly haunting and beautiful throughout. The cinematography and art direction were beautiful when showing the dark forest and suburban landscapes as well as the recreation of some of the more familiar elements.
Doctor Sleep is the ceiling threshold of how good a sequel to a Kubrick classic iconic perfection piece of movie artwork onscreen. The feeling and fun of seeing new interpretations of classic characters was fine with me as the screenplay does them justice. Comparing it to The Shining is moot since Kubrick was the master and his films should be studied indefinitely by film students worldwide and Doctor Sleep is an admirable compliment to that.
I tried to find an instance where Kubrick made comment about the film 2010, but I could not other than he said he wished the director well with it. I would imagine he would have the same reaction here. I think he would feel his work stands on its own without need for further explanation or additional narrative, but that is not a criticism, just an observation.
Emma @ The Movies (1786 KP) rated Overlord (2018) in Movies
Sep 25, 2019
You say zombie and I'm sold. No matter how serious they are they're still pretty funny, usually unintentionally. I'm not sure what it says about me when I laugh at someone fighting a zombie to the death/re-death but I can't help it... it's too daft not to!
I thought the trailer for Overlord was very good. Specifically the point where Boyce looks into that hole in the wall. We all knew there was something freaky in there and yet they didn't try and scare us with it. It certainly left me intrigued, but my main hope for this was that it would be better than Red-Con 1.
I enjoyed the retro feel opening sequence with the voice over. It really did go a long way to making the time period of the movie come across. But my joy was short lived because of the sheer volume of what came next. I could feel it in my stomach. Technically it was quite effective as I imagine it resembles the feeling of being in the plane quite well, but my god did it make me feel queasy. What then developed in this scene was incredibly difficult to watch, again, on point for what was happening but not ideal for the viewer. Almost everything happening on screen was rendered obsolete by the chaos.
This is then followed by a mid-air sequence that basically feels like audience participation. Boyce is in freefall. It's strange and fake... yes, I know it IS fake, but I've seen enough films do that sort of airborn story line to know it can produce great results.
Despite those issues his eventual arrival on solid ground rounds out the beginning of the film nicely.
Overlord does show one of my favourite movie character faux pas. Never have dreams. Bad things will happen to you. If you're in a life threatening situation give up on every hope you have for your future and just focus on making it through the next 2 hours of your life.
The supernatural side of the film presents you with two very different types of zombies. Chloe's aunt is a classic wheezing zombie, mooching around just being a little creepy, and the ones we encounter in the bunker are much more rage filled. Being that they are mostly born of experiments it makes me wonder if calling this a zombie movie is entirely accurate.
There is what I would call a classic take from a B-movie hidden within the German bunker. Part of me hopes that somewhere within the magic of movie timelines that this is actually the pre-cursor to Fiend Without A Face. But to be making any suggestions that this itself is a B-movie would be entirely misplaced.
The effects are generally well done. We see a transformation brought about by the German's serum which is the first time the characters have witnessed it. The only thing that let the scene down for me was the change of the character's actual character. That felt more unnatural than what happened to them.
Where there's good, there's also bad. The effect's are tainted by Two-Face. He makes a very creepy inclusion but because of the extent of the damage it looks a tad ridiculous in the action sequences. There were ways around it, they could have given him a different injury or a mask, but the latter would have possibly taken you into Captain America and Wonder Woman territory.
One thing I seriously think about this film is that they should make a second one. Not a sequel. Make this a second film. Keep Overlord as it is but also make a war film. Everything up until the creepy bits was a really solid start. It would only need a few tweaks to the bunker scenes to make them less sci-fi and the whole thing would make a great 15 certificate production.
What you should do
It's not a bad watch, probably more of a lad's night out sort of thing. (I'm not trying to be sexist there, it was literally me and 14 blokes watching it.) It certainly doesn't feel like you completely wasted your time seeing it, so give it a go sometime.
Movie thing you wish you could take home
When it comes to zombies I'd much rather have Ed from Shaun Of The Dead than any of these ones, so if it's possible to get that serum concoction for super strength without the creepy side effects then I'll go for that please.
I thought the trailer for Overlord was very good. Specifically the point where Boyce looks into that hole in the wall. We all knew there was something freaky in there and yet they didn't try and scare us with it. It certainly left me intrigued, but my main hope for this was that it would be better than Red-Con 1.
I enjoyed the retro feel opening sequence with the voice over. It really did go a long way to making the time period of the movie come across. But my joy was short lived because of the sheer volume of what came next. I could feel it in my stomach. Technically it was quite effective as I imagine it resembles the feeling of being in the plane quite well, but my god did it make me feel queasy. What then developed in this scene was incredibly difficult to watch, again, on point for what was happening but not ideal for the viewer. Almost everything happening on screen was rendered obsolete by the chaos.
This is then followed by a mid-air sequence that basically feels like audience participation. Boyce is in freefall. It's strange and fake... yes, I know it IS fake, but I've seen enough films do that sort of airborn story line to know it can produce great results.
Despite those issues his eventual arrival on solid ground rounds out the beginning of the film nicely.
Overlord does show one of my favourite movie character faux pas. Never have dreams. Bad things will happen to you. If you're in a life threatening situation give up on every hope you have for your future and just focus on making it through the next 2 hours of your life.
The supernatural side of the film presents you with two very different types of zombies. Chloe's aunt is a classic wheezing zombie, mooching around just being a little creepy, and the ones we encounter in the bunker are much more rage filled. Being that they are mostly born of experiments it makes me wonder if calling this a zombie movie is entirely accurate.
There is what I would call a classic take from a B-movie hidden within the German bunker. Part of me hopes that somewhere within the magic of movie timelines that this is actually the pre-cursor to Fiend Without A Face. But to be making any suggestions that this itself is a B-movie would be entirely misplaced.
The effects are generally well done. We see a transformation brought about by the German's serum which is the first time the characters have witnessed it. The only thing that let the scene down for me was the change of the character's actual character. That felt more unnatural than what happened to them.
Where there's good, there's also bad. The effect's are tainted by Two-Face. He makes a very creepy inclusion but because of the extent of the damage it looks a tad ridiculous in the action sequences. There were ways around it, they could have given him a different injury or a mask, but the latter would have possibly taken you into Captain America and Wonder Woman territory.
One thing I seriously think about this film is that they should make a second one. Not a sequel. Make this a second film. Keep Overlord as it is but also make a war film. Everything up until the creepy bits was a really solid start. It would only need a few tweaks to the bunker scenes to make them less sci-fi and the whole thing would make a great 15 certificate production.
What you should do
It's not a bad watch, probably more of a lad's night out sort of thing. (I'm not trying to be sexist there, it was literally me and 14 blokes watching it.) It certainly doesn't feel like you completely wasted your time seeing it, so give it a go sometime.
Movie thing you wish you could take home
When it comes to zombies I'd much rather have Ed from Shaun Of The Dead than any of these ones, so if it's possible to get that serum concoction for super strength without the creepy side effects then I'll go for that please.
Bob Mann (459 KP) rated The Upside (2019) in Movies
Sep 28, 2021
Not the 5* French classic, but a fun and moving movie nonetheless.
So, the movie-going audience for this film will divide into two categories:
Category A: those that have seen the original 2011 French classic “The Intouchables” that this is based on, and;
Category B: those that haven’t.
2011 is just before I started “One Mann’s Movies”, but “The Intouchables” would have got 5* from me, no problem.
This movie joins a list of standout European movies – for example, “The Girl with the Dragon Tattoo”; “Let The Right One In”; “Sleepless Night”; etc. – that have had Hollywood “makeovers” that don’t match up to the originals. And this is no exception. However, it’s still been well made and deserves respect as a standalone piece of movie-making.
The Plot
Based on a true story, Phillip Lacasse (Bryan Cranston) is left both paraplegic and widowed by a string of bad luck. Not that money can buy you everything, but his care arrangements are substantially helped by him being a multi-millionaire (“Not rich enough to buy The Yankees; Rich enough to buy The Mets”). This is from success in investments and writing about such investments.
Depressed, cranky and with a “DNR” that his diligent PA Yvonne (Nicole Kidman) seems unable to comply with, Phillip lashes out at anyone and everyone and so dispatches his carers with monotonous regularity. Dell Scott (Kevin Hart) is on parole, with the requirement to seek work. Due to a mix-up, he finds himself in the employ of Phillip: with the suspicion that he’s been hired because he is the very worst candidate imaginable, and thus the most likely to let Phillip shuffle off this mortal coil. But the two men’s antipathy to each other slowly thaws as they teach each other new tricks.
Pin left in the grenade
Those who have seen “The Intouchables” will fondly remember the first 5 minutes of that film: a flash-forward to a manic police car-chase featuring our protagonists (there played by François Cluzet and Omar Sy). It drops like a comedy hand-grenade to open the film. Unfortunately, you can’t help but feel a bit let down by the same re-creation in “The Upside”. It has all the same content but none of the heart.
After that rocky start, the film continues to rather stutter along. Part of the reason for this I think is Kevin Hart. It’s not that he’s particularly bad in the role: it’s just that he IS Kevin Hart, and I was constantly thinking “there’s that comedian playing that role”.
However, once the story gets into its swing, giving Cranston more of a chance to shine (which he does), then the film started to motor and my reservations about Hart started to wane. Some of these story set pieces – such as the one about the art work – are punch-the-air funny in their own right. Cranston’s timing in delivering his punchlines is immaculate.
This IS what actors do
There seems to have been some furore about the casting of Bryan Cranston as the role of the disabled millionaire instead of a disabled actor. Lord save us! He’s an actor! That’s what actors do for a living: pretend to be people they’re not! It’s also worth pointing out that François Cluzet was an able-bodied actor as well.
As already mentioned, Bryan Cranston excels in the role. Phillip goes through such a wide range of emotions from despair to pure joy and back again that you can’t help but be impressed by the performance.
On the female side of the cast, it’s really nice to see Nicole Kidman in such a quiet and understated role and it’s nicely done; Aja Naomi King does a nice job as Dell’s protective ex-girlfriend Latrice; and there’s a nice female cameo as well, which I won’t spoil since I wasn’t expecting to see her in the film.
Final Thoughts
As a standalone film it has some laugh-out-loud moments, some feelgood highs and some moments of real pathos. The audience I saw this with was small, but there was still a buzz in the room and sporadic applause as the end titles came up: God only knows that’s unusual for a film!
The director is “Limitless” and “Divergent” director Neil Burger, and it’s a perfectly fun and innocent night out at the flicks that I commend to the house in this month of celluloid awards heavyweights.
Category A: those that have seen the original 2011 French classic “The Intouchables” that this is based on, and;
Category B: those that haven’t.
2011 is just before I started “One Mann’s Movies”, but “The Intouchables” would have got 5* from me, no problem.
This movie joins a list of standout European movies – for example, “The Girl with the Dragon Tattoo”; “Let The Right One In”; “Sleepless Night”; etc. – that have had Hollywood “makeovers” that don’t match up to the originals. And this is no exception. However, it’s still been well made and deserves respect as a standalone piece of movie-making.
The Plot
Based on a true story, Phillip Lacasse (Bryan Cranston) is left both paraplegic and widowed by a string of bad luck. Not that money can buy you everything, but his care arrangements are substantially helped by him being a multi-millionaire (“Not rich enough to buy The Yankees; Rich enough to buy The Mets”). This is from success in investments and writing about such investments.
Depressed, cranky and with a “DNR” that his diligent PA Yvonne (Nicole Kidman) seems unable to comply with, Phillip lashes out at anyone and everyone and so dispatches his carers with monotonous regularity. Dell Scott (Kevin Hart) is on parole, with the requirement to seek work. Due to a mix-up, he finds himself in the employ of Phillip: with the suspicion that he’s been hired because he is the very worst candidate imaginable, and thus the most likely to let Phillip shuffle off this mortal coil. But the two men’s antipathy to each other slowly thaws as they teach each other new tricks.
Pin left in the grenade
Those who have seen “The Intouchables” will fondly remember the first 5 minutes of that film: a flash-forward to a manic police car-chase featuring our protagonists (there played by François Cluzet and Omar Sy). It drops like a comedy hand-grenade to open the film. Unfortunately, you can’t help but feel a bit let down by the same re-creation in “The Upside”. It has all the same content but none of the heart.
After that rocky start, the film continues to rather stutter along. Part of the reason for this I think is Kevin Hart. It’s not that he’s particularly bad in the role: it’s just that he IS Kevin Hart, and I was constantly thinking “there’s that comedian playing that role”.
However, once the story gets into its swing, giving Cranston more of a chance to shine (which he does), then the film started to motor and my reservations about Hart started to wane. Some of these story set pieces – such as the one about the art work – are punch-the-air funny in their own right. Cranston’s timing in delivering his punchlines is immaculate.
This IS what actors do
There seems to have been some furore about the casting of Bryan Cranston as the role of the disabled millionaire instead of a disabled actor. Lord save us! He’s an actor! That’s what actors do for a living: pretend to be people they’re not! It’s also worth pointing out that François Cluzet was an able-bodied actor as well.
As already mentioned, Bryan Cranston excels in the role. Phillip goes through such a wide range of emotions from despair to pure joy and back again that you can’t help but be impressed by the performance.
On the female side of the cast, it’s really nice to see Nicole Kidman in such a quiet and understated role and it’s nicely done; Aja Naomi King does a nice job as Dell’s protective ex-girlfriend Latrice; and there’s a nice female cameo as well, which I won’t spoil since I wasn’t expecting to see her in the film.
Final Thoughts
As a standalone film it has some laugh-out-loud moments, some feelgood highs and some moments of real pathos. The audience I saw this with was small, but there was still a buzz in the room and sporadic applause as the end titles came up: God only knows that’s unusual for a film!
The director is “Limitless” and “Divergent” director Neil Burger, and it’s a perfectly fun and innocent night out at the flicks that I commend to the house in this month of celluloid awards heavyweights.
Bob Mann (459 KP) rated Green Book (2018) in Movies
Sep 28, 2021
“Vacation without Aggravation.”
The “Green Book” was a handbook (now, thankfully, out of print) for blacks travelling in the southern states of the US , who want to stay in or dine in places they will be welcomed rather than abused. It is of course 1962 and Bobby Kennedy as Attorney General has racial equality strongly in his firing line.
The ever-flexible (and here, after piling a lot of weight on, almost unrecognisable) Viggo Mortensen plays Tony ‘Lip’ Vallelonga – a racist Italian-American living in The Bronx and working as a bouncer at “The Copacabana” club. Oscar-winner Mahershala Ali plays Dr Don Shirley – a black virtuoso pianist of high acclaim. How this odd couple meet and interact on a journey from Titsburg (sic) to Birmingham is the heart of the film.
I’m actually loathe to say ANY more about the plot of this film. I saw this at a Cineworld “Secret Screening” and so went into the film completely blind about the content: which was just BRILLIANT! For this, for me, is as near a perfect road-movie as I am likely to see this or any other decade. To say it is a feelgood Christmas classic to approach “It’s a Wonderful Life” is not – I think – putting it too strongly.
Oh… dammit… I’ve already given away my rating haven’t I….?
The turns
The film has apparently had Oscar buzz since winning the Toronto Film Festival’s “People’s Choice” award, and the chemistry that builds up between Ali and Mortensen is just fantastic. While I’m a fan of Mortensen (“Captain Fantastic” was a minor classic), it is Ali’s performance as the gentle and mannered Shirley which impresses most, and would be my pick for the Oscar nomination if I had to choose between them.
Also truly impressive is ER’s Linda Cardllini as Tony’s wife Dolores: her reactions to “Tony’s” letters home are just exquisite. I wonder whether a Supporting Actress nomination might be deserved here also.
And what a script
The screenplay by Brian Hayes Currie, Peter Farrelly and Nick Vallelonga (Tony’s son…. yes, this is based on a true story), sizzles with fantastic one-liners and wordplay. It breathes life into the 1962 setting by not shying away from using what, today, are highly offensive racial slurs: these might offend some, but they are essential for a film that lampoons racist behaviour so wonderfully.
Above all, it’s a film with genuine heart. A story that lifts the spirit and paints onto the screen in technicolour glory the struggle (albeit you feel a rather sanitised one) that lifted America out of the dark ages in terms of equality.
It is perhaps this degree of “Oscar baitedness” – (if that’s not a word then it is now) – that might be its biggest weakness in garnering support among the voters at Oscar time. It is though perhaps worth bearing in mind that it was “Driving Miss Daisy” – an odd-couple inter-racial chauffeur-based movie – that won the Best Film Oscar for 1989!
Farrelly? What THAT Farrelly?
This is a film of subtlety and nuance that makes it all the more surprising that the director is Peter Farrelly. Yes, he of the Farrelly brothers of such crass, unsubtle and hilarious films like “There’s Something about Mary” and “Dumb and Dumber” and such crass, unsubtle and totally awful films like “Me, Myself and Irene” and “Dumb and Dumber To”! It’s like asking Mr Bean to direct a performance of Swan Lake at the Royal Opera House! Yet, here it just plain works. The comedy injected into the film (and there are a number of times I laughed out loud) is perfectly balanced with the story.
Final thoughts
What I wanted to say here was:
“Go see this film. No, REALLY. It will leave you with a warm Christmas glow in your heart to last you through the holidays. Well, it should – it did me.”
However, although the States already had this for Thanksgiving, it looks as if the UK general release of this film is not set to happen until the 1st of February next year. Which is a great shame and a missed opportunity. (It’s as if they made a Christmas film like “Die Hard” and then released it in July! #sarcasm #yesiknowtheydid).
I really hope that’s a mistake and you guys can get to see it before then. When you can, go see it (No, REALLY!). Seldom have two hours flown by with such joy at the cinema. At this late stage in the year, my “Films of the Year” draft list is going to need another shake up!
The ever-flexible (and here, after piling a lot of weight on, almost unrecognisable) Viggo Mortensen plays Tony ‘Lip’ Vallelonga – a racist Italian-American living in The Bronx and working as a bouncer at “The Copacabana” club. Oscar-winner Mahershala Ali plays Dr Don Shirley – a black virtuoso pianist of high acclaim. How this odd couple meet and interact on a journey from Titsburg (sic) to Birmingham is the heart of the film.
I’m actually loathe to say ANY more about the plot of this film. I saw this at a Cineworld “Secret Screening” and so went into the film completely blind about the content: which was just BRILLIANT! For this, for me, is as near a perfect road-movie as I am likely to see this or any other decade. To say it is a feelgood Christmas classic to approach “It’s a Wonderful Life” is not – I think – putting it too strongly.
Oh… dammit… I’ve already given away my rating haven’t I….?
The turns
The film has apparently had Oscar buzz since winning the Toronto Film Festival’s “People’s Choice” award, and the chemistry that builds up between Ali and Mortensen is just fantastic. While I’m a fan of Mortensen (“Captain Fantastic” was a minor classic), it is Ali’s performance as the gentle and mannered Shirley which impresses most, and would be my pick for the Oscar nomination if I had to choose between them.
Also truly impressive is ER’s Linda Cardllini as Tony’s wife Dolores: her reactions to “Tony’s” letters home are just exquisite. I wonder whether a Supporting Actress nomination might be deserved here also.
And what a script
The screenplay by Brian Hayes Currie, Peter Farrelly and Nick Vallelonga (Tony’s son…. yes, this is based on a true story), sizzles with fantastic one-liners and wordplay. It breathes life into the 1962 setting by not shying away from using what, today, are highly offensive racial slurs: these might offend some, but they are essential for a film that lampoons racist behaviour so wonderfully.
Above all, it’s a film with genuine heart. A story that lifts the spirit and paints onto the screen in technicolour glory the struggle (albeit you feel a rather sanitised one) that lifted America out of the dark ages in terms of equality.
It is perhaps this degree of “Oscar baitedness” – (if that’s not a word then it is now) – that might be its biggest weakness in garnering support among the voters at Oscar time. It is though perhaps worth bearing in mind that it was “Driving Miss Daisy” – an odd-couple inter-racial chauffeur-based movie – that won the Best Film Oscar for 1989!
Farrelly? What THAT Farrelly?
This is a film of subtlety and nuance that makes it all the more surprising that the director is Peter Farrelly. Yes, he of the Farrelly brothers of such crass, unsubtle and hilarious films like “There’s Something about Mary” and “Dumb and Dumber” and such crass, unsubtle and totally awful films like “Me, Myself and Irene” and “Dumb and Dumber To”! It’s like asking Mr Bean to direct a performance of Swan Lake at the Royal Opera House! Yet, here it just plain works. The comedy injected into the film (and there are a number of times I laughed out loud) is perfectly balanced with the story.
Final thoughts
What I wanted to say here was:
“Go see this film. No, REALLY. It will leave you with a warm Christmas glow in your heart to last you through the holidays. Well, it should – it did me.”
However, although the States already had this for Thanksgiving, it looks as if the UK general release of this film is not set to happen until the 1st of February next year. Which is a great shame and a missed opportunity. (It’s as if they made a Christmas film like “Die Hard” and then released it in July! #sarcasm #yesiknowtheydid).
I really hope that’s a mistake and you guys can get to see it before then. When you can, go see it (No, REALLY!). Seldom have two hours flown by with such joy at the cinema. At this late stage in the year, my “Films of the Year” draft list is going to need another shake up!
Bob Mann (459 KP) rated Murder on the Orient Express (2017) in Movies
Sep 29, 2021
You’ll never guess who dunnit…
There’s a big problem with Kenneth Branagh’s 2017 filming of the Hercule Poirot-based murder mystery…. and that’s the 1974 Sidney Lumet classic featuring Albert Finney in the starring role. For that film was so memorable – at least, the “who” of the “whodunnit” (no spoilers here) was so memorable – that any remake is likely to be tarnished by that knowledge. If you go into this film blissfully unaware of the plot, you are a lucky man/woman. For this is a classic Agatha Christie yarn.
The irascible, borderline OCD, but undeniably great Belgian detective, Poirot, is dragged around the world by grateful police forces to help solve unsolvable crimes. After solving a case in Jerusalem, Poirot is called back to the UK with his mode of transport being the famous Orient Express. Trapped in the mountains by an avalanche, a murder is committed and with multiple suspects and a plethora of clues it is up to Poirot to solve the case.
Branagh enjoys himself enormously as Poirot, sporting the most distractingly magnificent facial hair since Daniel Day-Lewis in “The Gangs of New York”. The moustache must have had its own trailer and make-up team!
Above all, the film is glorious to look at, featuring a rich and exotic colour palette that is reminiscent of the early colour films of the 40’s. Cinematography was by Haris Zambarloukos (“Mamma Mia” and who also collaborated with Branagh on “Thor) with lots of innovative “ceiling down” shots and artful point-of-view takes that might be annoying to some but which I consider as deserving of Oscar/BAFTA nominations.
The pictures are accompanied by a lush score by Patrick Doyle (who also scored Branagh’s “Thor”). Hats off also to the special effects crew, who made the alpine bridge scenes look decidedly more alpine than where they were actually filmed (on a specially made bridge in the Surrey Hills!).
All these technical elements combine to make the film’s early stages look and feel truly epic.
And the cast… what a cast! Dame Judi Dench (“Victoria and Abdul“); Olivia Coleman (“The Lobster“); Johnny Depp (“Black Mass“); Daisy Ridley (“Star Wars: The Force Awakens“); Penélope Cruz (“Zoolander 2“); Josh Gad (Olaf!); Derek Jacobi (“I, Claudius”); Willem Dafoe (“The Great Wall“) and Michelle Pfeiffer (“mother!“). A real case again of an “oh, it’s you” film again at the cinema – when’s the last time we saw that?
It’s also great to see young Lucy Boynton, so magnificent in last year’s excellent “Sing Street“, getting an A-list role as the twitchy and disturbed countess.
With all these ingredients in the pot, it should be great, right? Unfortunately, in my view, no, not quite. The film’s opening momentum is really not maintained by the screenplay by Michael Green (“Blade Runner 2049“; “Logan“). At heart, it’s a fairly static and “stagey” piece at best, set as it is on the rather claustrophobic train (just three carriages… on the Orient Express… really?). But the tale is made even more static by the train’s derailment in the snow. Branagh and Green try to sex up the action where they can, but there are lengthy passages of fairly repetitive dialogue. One encounter in particular between Branagh and Depp seems to last interminably: you wonder if the problem was that the director wasn’t always looking on to yell “Cut”!
All this leads to the “revelation” of the murderer as being a bit of an anticlimactic “thank heavens for that” rather than the gasping denouement it should have been. (Perhaps this would be different if you didn’t know the twist).
However, these reservations aside, it’s an enjoyable night out at the flicks, although a bit of a disappointment from the level of expectation I had for it. I can’t be too grumpy about it, given it’s a return to good old-fashioned yarn-spinning at the cinema, with great visuals and an epic cast. And that has to be good news.
For sure, Branagh does make for an amusing and engaging Poirot, even if his dialogue did need some ‘tuning in’ to. There was a suggestion at the end of the film that we might be seeing his return in “Death on the Nile” – the most lush and decorous of Peter Ustinov’s outings – which I would certainly welcome. He will have to find another 10 A-list stars though to decorate the boat, which will be a challenge for casting!
The irascible, borderline OCD, but undeniably great Belgian detective, Poirot, is dragged around the world by grateful police forces to help solve unsolvable crimes. After solving a case in Jerusalem, Poirot is called back to the UK with his mode of transport being the famous Orient Express. Trapped in the mountains by an avalanche, a murder is committed and with multiple suspects and a plethora of clues it is up to Poirot to solve the case.
Branagh enjoys himself enormously as Poirot, sporting the most distractingly magnificent facial hair since Daniel Day-Lewis in “The Gangs of New York”. The moustache must have had its own trailer and make-up team!
Above all, the film is glorious to look at, featuring a rich and exotic colour palette that is reminiscent of the early colour films of the 40’s. Cinematography was by Haris Zambarloukos (“Mamma Mia” and who also collaborated with Branagh on “Thor) with lots of innovative “ceiling down” shots and artful point-of-view takes that might be annoying to some but which I consider as deserving of Oscar/BAFTA nominations.
The pictures are accompanied by a lush score by Patrick Doyle (who also scored Branagh’s “Thor”). Hats off also to the special effects crew, who made the alpine bridge scenes look decidedly more alpine than where they were actually filmed (on a specially made bridge in the Surrey Hills!).
All these technical elements combine to make the film’s early stages look and feel truly epic.
And the cast… what a cast! Dame Judi Dench (“Victoria and Abdul“); Olivia Coleman (“The Lobster“); Johnny Depp (“Black Mass“); Daisy Ridley (“Star Wars: The Force Awakens“); Penélope Cruz (“Zoolander 2“); Josh Gad (Olaf!); Derek Jacobi (“I, Claudius”); Willem Dafoe (“The Great Wall“) and Michelle Pfeiffer (“mother!“). A real case again of an “oh, it’s you” film again at the cinema – when’s the last time we saw that?
It’s also great to see young Lucy Boynton, so magnificent in last year’s excellent “Sing Street“, getting an A-list role as the twitchy and disturbed countess.
With all these ingredients in the pot, it should be great, right? Unfortunately, in my view, no, not quite. The film’s opening momentum is really not maintained by the screenplay by Michael Green (“Blade Runner 2049“; “Logan“). At heart, it’s a fairly static and “stagey” piece at best, set as it is on the rather claustrophobic train (just three carriages… on the Orient Express… really?). But the tale is made even more static by the train’s derailment in the snow. Branagh and Green try to sex up the action where they can, but there are lengthy passages of fairly repetitive dialogue. One encounter in particular between Branagh and Depp seems to last interminably: you wonder if the problem was that the director wasn’t always looking on to yell “Cut”!
All this leads to the “revelation” of the murderer as being a bit of an anticlimactic “thank heavens for that” rather than the gasping denouement it should have been. (Perhaps this would be different if you didn’t know the twist).
However, these reservations aside, it’s an enjoyable night out at the flicks, although a bit of a disappointment from the level of expectation I had for it. I can’t be too grumpy about it, given it’s a return to good old-fashioned yarn-spinning at the cinema, with great visuals and an epic cast. And that has to be good news.
For sure, Branagh does make for an amusing and engaging Poirot, even if his dialogue did need some ‘tuning in’ to. There was a suggestion at the end of the film that we might be seeing his return in “Death on the Nile” – the most lush and decorous of Peter Ustinov’s outings – which I would certainly welcome. He will have to find another 10 A-list stars though to decorate the boat, which will be a challenge for casting!
Joe Kline (10 KP) rated Beetlejuice (1988) in Movies
Dec 9, 2017
The style of Tim Burton makes this movie amazing visually (3 more)
Michael Keaton creates one of the funniest ghosts of all time
The score by Danny Elfman is phenomenal
Still unique after all these years
Some of the stop motion effects may turn off certain people (1 more)
Although originally rated PG it would easily be a PG13 by modern standards
80's Classic with Timeless Appeal
This is a movie about a young couple's struggle to cope with life, or rather their lack there of. The Maitlands discover that death is just the beginning and the living can be a nuisance.
Trouble is on the horizon as a yuppie couple and their terminally dismal daughter Lydia move in. The rustic country house is soon renovated into a warped view of abstract modernism. The Maitlands are unable to scare off the invaders. In a moment of desperation they respond to an erie advertisement by calling Beetlejuice, Beetlejuice, Beetlejuice.
After awakening this audacious spirit they soon realise why the other ghosts had warned against him. He is crass and crude and has no boundaries. However the Maitlands discover that putting this genie back in the bottle will not be easy.
Chaos ensues when Beetlejuice goes overboard and makes the family right back. Lydia, who has befriended the Maitlands, is caught in the middle.
This is one of my favorite movies of all time. It's a funny, quirky take on the afterlife. Tim Burton's signature style makes the world beyond both creepy and intriguing. It's paired perfectly with a brilliant score by Danny Elfman.
This is easily one of Michael Keaton best performances. Beetlejuice is the perfect villain that you love to hate, and you hate that you love. Every character is perfectly cast.
There are some negatives, but they're mostly nit-picks. This movie was PG when it came out, but some of the language and humor would easily make it a PG13 today. Some of the stop motion effects may look cheesey to some, although personally I love them. Finally, the eighties modern stylings of the Deets family may date the movie for some.
I cannot recommend this movie enough. If you love dark humor and the visual flare of Tim Burton you owe it to yourself to see this movie.
One final warning: The song Day-O will be stuck in your head for days.
Trouble is on the horizon as a yuppie couple and their terminally dismal daughter Lydia move in. The rustic country house is soon renovated into a warped view of abstract modernism. The Maitlands are unable to scare off the invaders. In a moment of desperation they respond to an erie advertisement by calling Beetlejuice, Beetlejuice, Beetlejuice.
After awakening this audacious spirit they soon realise why the other ghosts had warned against him. He is crass and crude and has no boundaries. However the Maitlands discover that putting this genie back in the bottle will not be easy.
Chaos ensues when Beetlejuice goes overboard and makes the family right back. Lydia, who has befriended the Maitlands, is caught in the middle.
This is one of my favorite movies of all time. It's a funny, quirky take on the afterlife. Tim Burton's signature style makes the world beyond both creepy and intriguing. It's paired perfectly with a brilliant score by Danny Elfman.
This is easily one of Michael Keaton best performances. Beetlejuice is the perfect villain that you love to hate, and you hate that you love. Every character is perfectly cast.
There are some negatives, but they're mostly nit-picks. This movie was PG when it came out, but some of the language and humor would easily make it a PG13 today. Some of the stop motion effects may look cheesey to some, although personally I love them. Finally, the eighties modern stylings of the Deets family may date the movie for some.
I cannot recommend this movie enough. If you love dark humor and the visual flare of Tim Burton you owe it to yourself to see this movie.
One final warning: The song Day-O will be stuck in your head for days.
Phillip McSween (751 KP) rated Cinderella Man (2005) in Movies
Jan 15, 2018
Classic
Cinderella Man is one of those films where I ask myself, "Why in the world has it taken me thirteen years to watch this?" It could be the fact that I've never had a strong love for films based on true stories or that I'm all binged out on boxing movies. Whatever the case may be, I'm glad Movies 365 has brought this film into my life and now into my heart.
There's so much to like about the movie, I'm not even sure where to start. Maybe Paul Giamati giving the performance of his life as trainer Joe Gould? Talk about playing a fabulous role. He's brash and straightforward, yet full of heart. He's not a fighter, but will go toe-to-toe with anyone to protect the people he cares about. Outshining him, however, is a stellar lead performance by legend Russell Crowe playing man of the hour James Braddock. Crowe makes you feel this guy, makes you love him. In one of the early scenes where Braddock gives his entire breakfast to his starving daughter before leaving for a strenuous day of work, you quickly realize that this is a guy you want to get behind and root for.
In the same vein, kudos to Ron Howard for using the source material to flesh out the stakes. The story could have just as easily been about a man trying to get back into boxing, but he made it about a man trying to feed his family and survive. It's painful to watch at times, but necessary. If you're not the least bit inspired after viewing this film, I don't know what will do it for you.
Howard also succeeds with excellent pace management. Seamless cuts between fights keep the action fresh and the viewer engaged. You don't get a whole lot of time to catch your breath. The cinematics are shot in a way that's gritty and real, beyond fitting for the Great Depression era when the film takes place.
Other than me almost going hoarse from screaming at the screen so much, I can't find many flaws with the film (hiccups, nothing major). I challenge you not to love this film about an aging boxer that just wants to keep his family alive. I give Cinderella Man a 95.
There's so much to like about the movie, I'm not even sure where to start. Maybe Paul Giamati giving the performance of his life as trainer Joe Gould? Talk about playing a fabulous role. He's brash and straightforward, yet full of heart. He's not a fighter, but will go toe-to-toe with anyone to protect the people he cares about. Outshining him, however, is a stellar lead performance by legend Russell Crowe playing man of the hour James Braddock. Crowe makes you feel this guy, makes you love him. In one of the early scenes where Braddock gives his entire breakfast to his starving daughter before leaving for a strenuous day of work, you quickly realize that this is a guy you want to get behind and root for.
In the same vein, kudos to Ron Howard for using the source material to flesh out the stakes. The story could have just as easily been about a man trying to get back into boxing, but he made it about a man trying to feed his family and survive. It's painful to watch at times, but necessary. If you're not the least bit inspired after viewing this film, I don't know what will do it for you.
Howard also succeeds with excellent pace management. Seamless cuts between fights keep the action fresh and the viewer engaged. You don't get a whole lot of time to catch your breath. The cinematics are shot in a way that's gritty and real, beyond fitting for the Great Depression era when the film takes place.
Other than me almost going hoarse from screaming at the screen so much, I can't find many flaws with the film (hiccups, nothing major). I challenge you not to love this film about an aging boxer that just wants to keep his family alive. I give Cinderella Man a 95.
Jamie (131 KP) rated Little Lies in Books
Jul 26, 2017
Extremely predictable (2 more)
Unlikeable main character
Poor representation of social workers
The worst social worker ever
What bothered me the most about this book was how poor of a representation Ellen Moore is of a social worker. Just think, if it was you or your own children that were involved in a case, would you want the CPS worker talking to other people idly about it? Carelessly giving personal information out even years after the case has been closed? Of course not. It would go against the code of ethics. A considerable portion of the story involved Ellen discussing a previous case involving a now grown child to multiple people, some that were involved in the case and some not. Then there’s the added bonus that Ellen ends up investigating a murder right along with buddy cop, adding her own opinions and speculations on the case without doing any actual police work. One of her theories involved said child from a previous case, which is quite frankly ridiculous and a serious violation of the code. I personally found this portrayal of social workers to be incredibly irresponsible.
I also wasn’t digging the pseudo romance between Ellen and the police officer. Ellen is supposed to be happily married with children, yet keeps going back to how she’s sure that mister cop is sweet on her, and how awkward it is even though they’re close friends. I rolled my eyes when she felt guilty not telling her husband about the not date at a diner to look at crime scene photos and discuss a case. This extra bit of fluff just made Ellen’s character more of an annoyance to me.
The plot tries really hard to set up a classic bait and switch in order to throw readers off the trail and make the reveal at the end that much more surprising and exciting, but it was so painfully obvious it just seemed amateurish. A let down, really, considering how much I loved one of Gudenkauf’s previous works, The Weight of Silence. This story felt so shallow in comparison. Taking it as an introduction to the characters in Little Mercies, well, I’m not sure if I’d want to pick up the full length novel after reading this and that’s a shame. Overall, this little novella was disappointing and could easily be skipped.
I also wasn’t digging the pseudo romance between Ellen and the police officer. Ellen is supposed to be happily married with children, yet keeps going back to how she’s sure that mister cop is sweet on her, and how awkward it is even though they’re close friends. I rolled my eyes when she felt guilty not telling her husband about the not date at a diner to look at crime scene photos and discuss a case. This extra bit of fluff just made Ellen’s character more of an annoyance to me.
The plot tries really hard to set up a classic bait and switch in order to throw readers off the trail and make the reveal at the end that much more surprising and exciting, but it was so painfully obvious it just seemed amateurish. A let down, really, considering how much I loved one of Gudenkauf’s previous works, The Weight of Silence. This story felt so shallow in comparison. Taking it as an introduction to the characters in Little Mercies, well, I’m not sure if I’d want to pick up the full length novel after reading this and that’s a shame. Overall, this little novella was disappointing and could easily be skipped.