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Gareth von Kallenbach (980 KP) rated Non-Stop (2014) in Movies
Jun 19, 2019
Bill Marks (Liam Neeson) is a man with demons. After his daughter fell seriously ill, the former New York police officer began a long descent into alcoholism and emotional distress. His fall was so great; Bill ended up losing his job and fortunately was able to find work as an Air Marshall providing in flight security for commercial routes.
In the new film Non-Stop, Bill is about to take a trans-Atlantic flight to London, and despite his dislike of flying and desire not to have a three day layover in London, reports for duty.
To say Bill is on edge would be an understatement as not only does he top off his coffee with a shot of spirits, he disables the airline smoke alarms so he can sneak a smoke to help calm himself and gather his thoughts.
Despite his issues, Bill is committed to his job and reports for duty and finds himself seated next to a charismatic lady named Jen (Julianne Moore), after she swaps seats with a passenger. Jen is a frequent traveler and noting that Bill seems on edge during takeoff, does her best to help calm him which Bill says will happen once they are airborne as he dislikes take offs.
True to his word, Bill is alert and ready to do his job once the plane is leveled off and en route to London. When a mysterious text arrives telling Bill that unless he deposits 150 million into an account, a passenger will be killed every twenty minutes, Bill swings into action and is determined to get to the bottom of the threat.
The flight crew is eager to put it off as a hoax as they state that a person cannot kill people on a crowded flight without being seen and it is likely just an elaborate hoax. Not convinced, Bill begins to investigate and asks for the passenger manifest to be rechecked and wants the account number he was given traced.
With the first deadline approaching Bill believes he has eliminated the threat when he uncovers a traitor in the midst in the guise of a fellow Air Marshall.
However text messages continue to arrive with instructions and Bill learns from his superiors that the account number given is in Bill’s name. Convinced that there is a viable threat Bill must fight to save the day when the crew, his bosses, and passengers believe he is deranged and actually hijacking the plane himself via an elaborate ruse.
While the film at times stretches credibility, it is for the most part a very tight and suspenseful and enjoyable film. My only issues were the final act at times seemed a bit to Hollywood and conventional for me but thanks to Neeson the film works.
The premise was engaging as was the cast and I was kept guessing as to the true nature of the threat as the film was good at casting suspicions then redirecting them throughout.
Like with the “Taken” films, Neeson is able to take a film that could be a mess in the hands of another actor but through his charisma and strong presence is able to give a character that although flawed is one that an audience can support.
French director Jaume Collet-Serra knows suspense from his part work with films such as “Orphan” and “Mindscape” and he wisely lets the film be a character driven story with action rather than an action film that happens to have characters.
As I said earlier, the final act was what kept the film from being a classic for me, but as it is, there is still plenty of good stuff to make this a film worth catching.
http://sknr.net/2014/02/28/non-stop/
In the new film Non-Stop, Bill is about to take a trans-Atlantic flight to London, and despite his dislike of flying and desire not to have a three day layover in London, reports for duty.
To say Bill is on edge would be an understatement as not only does he top off his coffee with a shot of spirits, he disables the airline smoke alarms so he can sneak a smoke to help calm himself and gather his thoughts.
Despite his issues, Bill is committed to his job and reports for duty and finds himself seated next to a charismatic lady named Jen (Julianne Moore), after she swaps seats with a passenger. Jen is a frequent traveler and noting that Bill seems on edge during takeoff, does her best to help calm him which Bill says will happen once they are airborne as he dislikes take offs.
True to his word, Bill is alert and ready to do his job once the plane is leveled off and en route to London. When a mysterious text arrives telling Bill that unless he deposits 150 million into an account, a passenger will be killed every twenty minutes, Bill swings into action and is determined to get to the bottom of the threat.
The flight crew is eager to put it off as a hoax as they state that a person cannot kill people on a crowded flight without being seen and it is likely just an elaborate hoax. Not convinced, Bill begins to investigate and asks for the passenger manifest to be rechecked and wants the account number he was given traced.
With the first deadline approaching Bill believes he has eliminated the threat when he uncovers a traitor in the midst in the guise of a fellow Air Marshall.
However text messages continue to arrive with instructions and Bill learns from his superiors that the account number given is in Bill’s name. Convinced that there is a viable threat Bill must fight to save the day when the crew, his bosses, and passengers believe he is deranged and actually hijacking the plane himself via an elaborate ruse.
While the film at times stretches credibility, it is for the most part a very tight and suspenseful and enjoyable film. My only issues were the final act at times seemed a bit to Hollywood and conventional for me but thanks to Neeson the film works.
The premise was engaging as was the cast and I was kept guessing as to the true nature of the threat as the film was good at casting suspicions then redirecting them throughout.
Like with the “Taken” films, Neeson is able to take a film that could be a mess in the hands of another actor but through his charisma and strong presence is able to give a character that although flawed is one that an audience can support.
French director Jaume Collet-Serra knows suspense from his part work with films such as “Orphan” and “Mindscape” and he wisely lets the film be a character driven story with action rather than an action film that happens to have characters.
As I said earlier, the final act was what kept the film from being a classic for me, but as it is, there is still plenty of good stuff to make this a film worth catching.
http://sknr.net/2014/02/28/non-stop/
Gareth von Kallenbach (980 KP) rated Splice (2010) in Movies
Aug 8, 2019
I consider myself a pretty well educated horror-movie buff. As a child, my brother lovingly showed me movies like Critters” and Ghoulies, along with the Halloween and Friday the 13th series. Freddy Krueger scared me no more than Ronald McDonald did (and no, I don’t have a fear of clowns). I have pretty much grown immune to horror films and their ilk, so it takes a lot to get a rise out of me. Sadly, like many many others, Splice failed miserably in doing so.
Meet Clive (Adrian Brody) and Elsa (Sarah Polley), two very cliché, defiant scientists who lead their industry by creating a prototype of the first ever genetically engineered creature. These two creatures, dubbed “Fred” and “Ginger”, claim a genetic code that they hope to someday use for veterinary and medicinal advances. In light of their success, Elsa conveys her desire to start working with human genes, a desire her supervisors immediately shoot down. Ever rebellious, Elsa and Clive begin splicing human genomes on their own, hoping to create a creature that will be unequaled in its genetic capabilities and advances. Yet their result turns out to be something far more humanoid than previously hoped. Soon they find themselves with a creature, lovingly named “Dren”, that’s startlingly human and yet embodies the abilities of amphibian and bird, a creature that’s capable of employing human emotion and intelligence while reveling in its animalistic tendencies. Even with Elsa's nurturing, their experiment takes a turn for the worse.
At first I had high hopes for this film. It was an independent film that premiered at Sundance (it's also being shown currently at the Seattle Independent Film Festival), had Adrian Brody as its lead, and one of my favorite directors, Guillermo Del Toro as one of its executive producers. All in all, I thought this might prove to be one of those rare horror-movie exceptions. But I was wrong.
Remember that time when you first watched Saw in the movie theater, and how comical that scene was where Cary Elwes' character is sawing off his leg to break free to save his family, only to have the game end less than an hour or so later? It was supposed to be one of those "dramatic" moments but everyone ends up laughing instead. Yeah, that's kind of what happens in Splice. Numerous times throughout the movie, the audience ended up laughing at the more dramatic moments. Sadly, the plot in and of itself was decent.
Perhaps if there had been a bigger budget or if more attention had been paid to the acting and the movie's resolution it might have turned out in much better form. It's my understanding that the original Sundance film had been edited and altered, thus resulting in what we see. Whether this was for better or worse, I've no clue. Given the ridiculous ending and the generic horror-movie allure, it flopped terribly and the ending just seemed thrown together more than anything else. Plus, if the plot didn't get under your skin, Dren's chirps and warbles would.
The opening credits were amazing (I have to give credit where credit is due) and the beginning scenes weren't terribly bad. Overall, the movie is more comical than terrifying and the plot weaker than watered-down instant coffee. There are far too many holes in the storyline and Adrian Brody's character wasn't strong enough to carry a cast as obscure as this. I would wait to see what the DVD would hold for this one. Maybe the extras will help fill in the gaps or the unedited film will present itself in a different light?
Meet Clive (Adrian Brody) and Elsa (Sarah Polley), two very cliché, defiant scientists who lead their industry by creating a prototype of the first ever genetically engineered creature. These two creatures, dubbed “Fred” and “Ginger”, claim a genetic code that they hope to someday use for veterinary and medicinal advances. In light of their success, Elsa conveys her desire to start working with human genes, a desire her supervisors immediately shoot down. Ever rebellious, Elsa and Clive begin splicing human genomes on their own, hoping to create a creature that will be unequaled in its genetic capabilities and advances. Yet their result turns out to be something far more humanoid than previously hoped. Soon they find themselves with a creature, lovingly named “Dren”, that’s startlingly human and yet embodies the abilities of amphibian and bird, a creature that’s capable of employing human emotion and intelligence while reveling in its animalistic tendencies. Even with Elsa's nurturing, their experiment takes a turn for the worse.
At first I had high hopes for this film. It was an independent film that premiered at Sundance (it's also being shown currently at the Seattle Independent Film Festival), had Adrian Brody as its lead, and one of my favorite directors, Guillermo Del Toro as one of its executive producers. All in all, I thought this might prove to be one of those rare horror-movie exceptions. But I was wrong.
Remember that time when you first watched Saw in the movie theater, and how comical that scene was where Cary Elwes' character is sawing off his leg to break free to save his family, only to have the game end less than an hour or so later? It was supposed to be one of those "dramatic" moments but everyone ends up laughing instead. Yeah, that's kind of what happens in Splice. Numerous times throughout the movie, the audience ended up laughing at the more dramatic moments. Sadly, the plot in and of itself was decent.
Perhaps if there had been a bigger budget or if more attention had been paid to the acting and the movie's resolution it might have turned out in much better form. It's my understanding that the original Sundance film had been edited and altered, thus resulting in what we see. Whether this was for better or worse, I've no clue. Given the ridiculous ending and the generic horror-movie allure, it flopped terribly and the ending just seemed thrown together more than anything else. Plus, if the plot didn't get under your skin, Dren's chirps and warbles would.
The opening credits were amazing (I have to give credit where credit is due) and the beginning scenes weren't terribly bad. Overall, the movie is more comical than terrifying and the plot weaker than watered-down instant coffee. There are far too many holes in the storyline and Adrian Brody's character wasn't strong enough to carry a cast as obscure as this. I would wait to see what the DVD would hold for this one. Maybe the extras will help fill in the gaps or the unedited film will present itself in a different light?
Kirk Bage (1775 KP) rated 3 Idiots (2009) in Movies
Mar 3, 2020
So, I am writing a coffee table book that selects the 200 top films of 2000 – 2019. Called, predictably, 21st Century Cinema: 200 Unmissable films. It uses a system of rating I devised called The Decinemal, which takes the ten categories by which a film can be rated (Direction, Script, Design, Lead Acting, Support Acting, Music, Photography, Critical Acclaim, Watchability and X-Factor) and scores them out of 10, to give an overall score out of 100. Whilst not foolproof, it does give a remarkable working basis for comparing movies of different genres, and the ratings often bear a striking relation to the democratic system used by IMDb – a film scoring 7.2 on that website might be a 75 decinemal, for example, and that feels like that validates its use.
It has been a very fun, if time consuming, project. The difficulty is keeping up with new releases every year, and trying to catch some of the more obscure foreign language films out there that get high scores on IMDb. One such film was 3 Idiots, to date the highest rated Bollywood film on that website, with a score of 8.5; which is high! Very high! So I have to watch it and find out for myself.
Now, Bollywood is not me for, barring the odd amusement of how bizarre they can be. I find the musical interludes often grating and incongruous, and the melodramatic acting styles something that the cinema of most other countries outgrew decades ago. So it is hard for me to be objective about it. On the whole they just don’t compete on any level with American, European or, well, any other country’s output. In short, I would never normally watch one at all.
Surprisingly, I found 3 Idiots, although clownish and OTT, quite entertaining from the start. I even found one or two of the obligatory musical numbers very catchy and a lot of fun! Also, lead actor Aamir Khan, one of India’s biggest stars, was very charming and watchable. Of course, it is colourful, loud and has a childish sensibility, but some moments made me genuinely laugh. The main problem actually came from it being padded out to almost 2 and 1/2 hours, which was far too long for comfort. If it had been more economical I may have even been able to say it was worth watching.
Sadly, it is the moments of cultural difference and pure silliness that dragged it down. Despite its positive points, ultimately it is a mess, and to compare it on the standard I judge all films I see I have to be fair and not patronise it. Certainly in terms of the Bollywood fare I have seen bits of over the years, I can see why it is so well thought of. I can also see how films like this gain such a high rating, because it is the native audience it was made for that cast the votes. Which is fair enough, but does give it an unreasonably high score.
I think if more people watched it and rated it, it would balance out at a 6.5, and it probably deserves that for sheer entertainment value. I have certainly seen many worse films! Applying The Decinemal objectively, however, it comes out like this: Direction 4, Script 5, Design 6, Lead Acting 6, Support acting 4, Music 5, Photography 6, Critical Acclaim 7, Wachability 5, x-Factor 6. Added up that gives it a Decinemal of 54 – a far cry from the 74 it would have needed to make my top 200. And I stand by that score, as the level of likelihood of everyone’s enjoyment of it.
To an extent it discourages me from watching anything from this part of the world again, but I can’t say I didn’t appreciate why it was such a big hit. Interesting.
It has been a very fun, if time consuming, project. The difficulty is keeping up with new releases every year, and trying to catch some of the more obscure foreign language films out there that get high scores on IMDb. One such film was 3 Idiots, to date the highest rated Bollywood film on that website, with a score of 8.5; which is high! Very high! So I have to watch it and find out for myself.
Now, Bollywood is not me for, barring the odd amusement of how bizarre they can be. I find the musical interludes often grating and incongruous, and the melodramatic acting styles something that the cinema of most other countries outgrew decades ago. So it is hard for me to be objective about it. On the whole they just don’t compete on any level with American, European or, well, any other country’s output. In short, I would never normally watch one at all.
Surprisingly, I found 3 Idiots, although clownish and OTT, quite entertaining from the start. I even found one or two of the obligatory musical numbers very catchy and a lot of fun! Also, lead actor Aamir Khan, one of India’s biggest stars, was very charming and watchable. Of course, it is colourful, loud and has a childish sensibility, but some moments made me genuinely laugh. The main problem actually came from it being padded out to almost 2 and 1/2 hours, which was far too long for comfort. If it had been more economical I may have even been able to say it was worth watching.
Sadly, it is the moments of cultural difference and pure silliness that dragged it down. Despite its positive points, ultimately it is a mess, and to compare it on the standard I judge all films I see I have to be fair and not patronise it. Certainly in terms of the Bollywood fare I have seen bits of over the years, I can see why it is so well thought of. I can also see how films like this gain such a high rating, because it is the native audience it was made for that cast the votes. Which is fair enough, but does give it an unreasonably high score.
I think if more people watched it and rated it, it would balance out at a 6.5, and it probably deserves that for sheer entertainment value. I have certainly seen many worse films! Applying The Decinemal objectively, however, it comes out like this: Direction 4, Script 5, Design 6, Lead Acting 6, Support acting 4, Music 5, Photography 6, Critical Acclaim 7, Wachability 5, x-Factor 6. Added up that gives it a Decinemal of 54 – a far cry from the 74 it would have needed to make my top 200. And I stand by that score, as the level of likelihood of everyone’s enjoyment of it.
To an extent it discourages me from watching anything from this part of the world again, but I can’t say I didn’t appreciate why it was such a big hit. Interesting.
Lee (2222 KP) rated Military Wives (2020) in Movies
Mar 9, 2020
Based on true events, Military Wives tells the story of how the very first military wives charity group came to be formed. That initial group was soon followed by more Military Wives groups, with some of the earlier ones even starring in 2011 BBC reality show 'The Choir', led by Gareth Malone. The Military Wives choirs have continued to grow since then and now comprise of 2000 women, located at over 70 military bases around the world, producing hit singles and albums as they go from strength to strength. The movie is directed by Peter Cattaneo, who directed The Full Monty, and the trailer really does have that traditional feel-good British comedy vibe which we seem to churn out year after year in an attempt to be "this years Full Monty". I wasn't sure if this was going to be for me, but after I found myself thoroughly enjoying Fisherman's Friends last year, I went in with an open mind.
At a UK army base, soldiers are preparing to leave for another tour in Afghanistan. As they say goodbye, we're given a chance to be introduced to the wives and families who will remain in the houses located on the base while the soldiers are away. Straight away, we get real insight into the lives of these women - trying to maintain some kind of normality, while constantly living in fear of the phone call or the knock at the door that might come at any time and turn their lives upside down. The women all vary in their experience of army life - from young, newly married wives to wives who are old hands at moving from base to base and country to country, coping without their husband for long periods of time.
Kate (Kristin Scott Thomas) is married to the regiment's colonel and assumes that she is therefore superior to all the other women on the base - jumping the queue in the small on-site grocery store and generally looking down her nose at the others. Lisa (Sharon Horgan) is much more laid back than Kate, happy to just go with the flow. She has been charged with pastoral care for the wives while their partners are away, and is more than happy just to organise the odd coffee morning or a few glasses of wine rather than anything more productive and engaging for the group. With her husband away, and having to deal with a past tragedy that we learn more about as the story unfolds, Kate decides to try and poke her nose in and organise Lisa and the other wives. Consequently, Kate and Lisa clash... regularly.
After unsuccessfully trying out knitting as a suggested activity, one of the wives suggests singing. Unfortunately though, none of the women appear to be very good at singing and the bickering between Kate and Lisa doesn't really help improve them either. While Kate reads up on vocal warm-ups and learning how to conduct a choir, Lisa digs out her old electronic keyboard and is happy just to have the group try and sing along to a few old pop songs.
Military Wives does manage to follow that traditional Full Monty template I described earlier - with a mismatched bunch of inexperienced singers who eventually manage to get it together enough to be able to perform their own song at the Royal Albert Hall. However, I did feel that the emotion and the drama surrounding these women, who could lose their husband/wife at any moment, really brought something different to the movie, something which I don't feel the trailer accurately portrays. The comedy and the feel-good factor that these trailers like to put across was a lot more subtle, and as a result I enjoyed it far more than I was expecting to.
At a UK army base, soldiers are preparing to leave for another tour in Afghanistan. As they say goodbye, we're given a chance to be introduced to the wives and families who will remain in the houses located on the base while the soldiers are away. Straight away, we get real insight into the lives of these women - trying to maintain some kind of normality, while constantly living in fear of the phone call or the knock at the door that might come at any time and turn their lives upside down. The women all vary in their experience of army life - from young, newly married wives to wives who are old hands at moving from base to base and country to country, coping without their husband for long periods of time.
Kate (Kristin Scott Thomas) is married to the regiment's colonel and assumes that she is therefore superior to all the other women on the base - jumping the queue in the small on-site grocery store and generally looking down her nose at the others. Lisa (Sharon Horgan) is much more laid back than Kate, happy to just go with the flow. She has been charged with pastoral care for the wives while their partners are away, and is more than happy just to organise the odd coffee morning or a few glasses of wine rather than anything more productive and engaging for the group. With her husband away, and having to deal with a past tragedy that we learn more about as the story unfolds, Kate decides to try and poke her nose in and organise Lisa and the other wives. Consequently, Kate and Lisa clash... regularly.
After unsuccessfully trying out knitting as a suggested activity, one of the wives suggests singing. Unfortunately though, none of the women appear to be very good at singing and the bickering between Kate and Lisa doesn't really help improve them either. While Kate reads up on vocal warm-ups and learning how to conduct a choir, Lisa digs out her old electronic keyboard and is happy just to have the group try and sing along to a few old pop songs.
Military Wives does manage to follow that traditional Full Monty template I described earlier - with a mismatched bunch of inexperienced singers who eventually manage to get it together enough to be able to perform their own song at the Royal Albert Hall. However, I did feel that the emotion and the drama surrounding these women, who could lose their husband/wife at any moment, really brought something different to the movie, something which I don't feel the trailer accurately portrays. The comedy and the feel-good factor that these trailers like to put across was a lot more subtle, and as a result I enjoyed it far more than I was expecting to.
Audrey Miller moves from New York City to Washington, DC after receiving a dream job offer at a museum--running their social media accounts. She rents an apartment sight unseen and finds herself in a creepy English basement unit, with a faulty lock and watched constantly by her landlord's sketchy nephew. She feels isolated, as she only knows two people in the city--her old college friend, Cat, now a busy lawyer, and her former boyfriend, Nick, whom she broke up with when she moved to New York. But on Audrey's Instagram, she presents a bright and perfect life. For that, she's rewarded with over a million followers, constant comments, and free items from brands. She shares everything with her fans--pictures, her locations, her thoughts, and more. Little does she know that there's someone out there who has been soaking up those thoughts for years, since Audrey started her first blog. And now that Audrey has moved to his city, he's determined it is fate. He's going to use advice garnered on the dark web to make Audrey his--no matter what.
The first word I can think of to describe this book is "menacing." It's definitely creepy at times, but it mostly projects a sinister feel, as Audrey's stalker--who tells bits and pieces of his side in a POV entitled "Him"--moves closer and closer into her private world. Our other two POVs are Audrey herself and her friend Cat, her socially inept lawyer friend, who begs Audrey to move in with her as Audrey's own apartment becomes increasingly unsafe.
"But the internet can reveal just as much as it can obfuscate."
It's hard not to compare this book to Caroline Kepnes' YOU. But the portions from "Him" are slim, and I just didn't find the narration as creepy and engaging as Joe's. When I read YOU, I literally felt watched, the book was so convincing. This book feels more like a cautionary tale about oversharing on social media.
And in that facet, it does a great job. Our friend Audrey: she shares it all. Instagram stories, photos, and more. Audrey getting her daily coffee? On insta. Her latest exercise class? Shared. And, of course, her move from New York City to Washington, DC is carefully catalogued. It's easy, we realize, to track Audrey's precise location and schedules. But Audrey seems blissfully unaware, living for the adoration the internet provides her. And it gets you thinking, wondering how much we all share across social media. And why...
"Comments from my followers were hands down my favorite part of living my life on the internet... With a million friends at the palm of your hand, how could anyone ever feel truly alone?"
Audrey goes through a lot in this book, but she's not always easy to like. There are no real likeable characters here. The power is in the escalating narrative. As incidents pile up against Audrey (remember: menacing!), you are kept guessing. There's a handful of characters who could be "Him," and Barber does a good job of letting you wonder who it could be. I would settle on someone and then something would happen, and I'd start to waver, changing my mind.
I really liked the commentary on social media and oversharing, combined with the need to be liked, even if virtually. And while the character of "Him" didn't have the personality I really wanted in his sections, they did capture his desperation and his seeming lack of understanding that what he was doing was wrong.
The ending for this one was rather bizarre and bit tough to swallow. I saw some of it coming and it all happened a little quickly after all the buildup. It was definitely twisty, though! Overall, this was a very captivating thriller--perhaps not as deep as I had hoped, but definitely worth a read. 3.5 stars, rounded up here.
The first word I can think of to describe this book is "menacing." It's definitely creepy at times, but it mostly projects a sinister feel, as Audrey's stalker--who tells bits and pieces of his side in a POV entitled "Him"--moves closer and closer into her private world. Our other two POVs are Audrey herself and her friend Cat, her socially inept lawyer friend, who begs Audrey to move in with her as Audrey's own apartment becomes increasingly unsafe.
"But the internet can reveal just as much as it can obfuscate."
It's hard not to compare this book to Caroline Kepnes' YOU. But the portions from "Him" are slim, and I just didn't find the narration as creepy and engaging as Joe's. When I read YOU, I literally felt watched, the book was so convincing. This book feels more like a cautionary tale about oversharing on social media.
And in that facet, it does a great job. Our friend Audrey: she shares it all. Instagram stories, photos, and more. Audrey getting her daily coffee? On insta. Her latest exercise class? Shared. And, of course, her move from New York City to Washington, DC is carefully catalogued. It's easy, we realize, to track Audrey's precise location and schedules. But Audrey seems blissfully unaware, living for the adoration the internet provides her. And it gets you thinking, wondering how much we all share across social media. And why...
"Comments from my followers were hands down my favorite part of living my life on the internet... With a million friends at the palm of your hand, how could anyone ever feel truly alone?"
Audrey goes through a lot in this book, but she's not always easy to like. There are no real likeable characters here. The power is in the escalating narrative. As incidents pile up against Audrey (remember: menacing!), you are kept guessing. There's a handful of characters who could be "Him," and Barber does a good job of letting you wonder who it could be. I would settle on someone and then something would happen, and I'd start to waver, changing my mind.
I really liked the commentary on social media and oversharing, combined with the need to be liked, even if virtually. And while the character of "Him" didn't have the personality I really wanted in his sections, they did capture his desperation and his seeming lack of understanding that what he was doing was wrong.
The ending for this one was rather bizarre and bit tough to swallow. I saw some of it coming and it all happened a little quickly after all the buildup. It was definitely twisty, though! Overall, this was a very captivating thriller--perhaps not as deep as I had hoped, but definitely worth a read. 3.5 stars, rounded up here.
Gareth von Kallenbach (980 KP) rated Miles Ahead (2016) in Movies
Aug 6, 2019
If you’ve ever found yourself in a coffee shop, bookstore, or perhaps even a jazz club in the 21st century you can’t NOT have heard either the name ‘Miles Davis’, his music, or perhaps both. If you’ve been living under a rock your whole life and by some miracle you have a smartphone, computer, or a radio find a jazz station and it’s almost a sure thing you’ll here his music within minutes. The man is no myth although the man and his music are so legendary there is almost a mythical presence to him. He is one of the greats. No question. No argument.
‘Miles Ahead’ is a biopic about the legendary jazz musician directed by and staring Don Cheadle who also co-wrote the film with Steven Baigelman, Christopher Wilkinson, and Steven J. Rivele.
Emayatzy Corinealdi, Ewan McGregor, Michael Stuhlbarg, and Keith Stanfield. Rather than focus on the entire life of the great jazz musician which could encompass several films and take up an entire archive, the film focuses mainly on a period in Davis’s life where he is living in relative seclusion in his home in New York City after having retreated from the public spotlight five years previously. Miles endeavors to begin recording and playing music once again after combating addictions to alcohol and cocaine which he indulged in to deal with his wife leaving him and the heavy stress brought upon him by a loss of inspiration to compose music. At about this same time ‘Rolling Stone’ reporter Dave Braden (McGregor), a borderline paparazzi of the time but not quite, calls upon Davis begging him to let him write about Davis’s great comeback. After several futile attempts on the part of Braden, Davis reluctantly agrees after Braden introduces him to a new dealer willing to supply him with high-grade cocaine. What follows is something thats almost out of a Hunter S. Thompson book as the two attempt to recover a demo tape of Davis’s most recent recordings from a low level gangster/manager/agent who stole the from Davis’s home. Amongst the drugs and the booze and the gun fights and car chases there are brief flashbacks into Miles’s past where he relives times good and bad with his wife Frances (Corinealdi). How they met, how they lived, and how she inspired some of his greatest works through her graceful dancing and their mutual love for classical music like Eric Satie, Chopin, and Stravinsky and how he eventually lost her due to his addictions and indulgences.
For such a brief glimpse into the life of one of music’s greatest, the movie was quite well done. It was clearly a labor of love for Mr. Cheadle who had his hands in nearly every aspect of the movie and went so far as to learn to play the trumpet so he could actually play the music himself in the movie. The actor, who is amongst the best and most underrated of our time, reportedly spent six years making this film. The background music is mostly comprised of tracks from arguably one of Davis’s best albums ‘Sketches Of Spain’ and selections of his work is played by Cheadle himself. It’s sometimes difficult to tell whether the movie is more about the music or the man himself. Does it honestly matter though? In many ways, they’re one in the same are they not? The movie is rated R for scenes with violence, adult language, and intimate scenes. I’d give it 4 out of 5 stars. The only negative thing I have to say about is that I wish there had been more about the life of the man. His beginnings. Like when he was accepted into the Juilliard School of Music in New York only to drop out. His days spent jamming with Charlie Parker. Again, that would encompass far more time than one would consider ‘feasible’ for a movie.
‘Miles Ahead’ is a biopic about the legendary jazz musician directed by and staring Don Cheadle who also co-wrote the film with Steven Baigelman, Christopher Wilkinson, and Steven J. Rivele.
Emayatzy Corinealdi, Ewan McGregor, Michael Stuhlbarg, and Keith Stanfield. Rather than focus on the entire life of the great jazz musician which could encompass several films and take up an entire archive, the film focuses mainly on a period in Davis’s life where he is living in relative seclusion in his home in New York City after having retreated from the public spotlight five years previously. Miles endeavors to begin recording and playing music once again after combating addictions to alcohol and cocaine which he indulged in to deal with his wife leaving him and the heavy stress brought upon him by a loss of inspiration to compose music. At about this same time ‘Rolling Stone’ reporter Dave Braden (McGregor), a borderline paparazzi of the time but not quite, calls upon Davis begging him to let him write about Davis’s great comeback. After several futile attempts on the part of Braden, Davis reluctantly agrees after Braden introduces him to a new dealer willing to supply him with high-grade cocaine. What follows is something thats almost out of a Hunter S. Thompson book as the two attempt to recover a demo tape of Davis’s most recent recordings from a low level gangster/manager/agent who stole the from Davis’s home. Amongst the drugs and the booze and the gun fights and car chases there are brief flashbacks into Miles’s past where he relives times good and bad with his wife Frances (Corinealdi). How they met, how they lived, and how she inspired some of his greatest works through her graceful dancing and their mutual love for classical music like Eric Satie, Chopin, and Stravinsky and how he eventually lost her due to his addictions and indulgences.
For such a brief glimpse into the life of one of music’s greatest, the movie was quite well done. It was clearly a labor of love for Mr. Cheadle who had his hands in nearly every aspect of the movie and went so far as to learn to play the trumpet so he could actually play the music himself in the movie. The actor, who is amongst the best and most underrated of our time, reportedly spent six years making this film. The background music is mostly comprised of tracks from arguably one of Davis’s best albums ‘Sketches Of Spain’ and selections of his work is played by Cheadle himself. It’s sometimes difficult to tell whether the movie is more about the music or the man himself. Does it honestly matter though? In many ways, they’re one in the same are they not? The movie is rated R for scenes with violence, adult language, and intimate scenes. I’d give it 4 out of 5 stars. The only negative thing I have to say about is that I wish there had been more about the life of the man. His beginnings. Like when he was accepted into the Juilliard School of Music in New York only to drop out. His days spent jamming with Charlie Parker. Again, that would encompass far more time than one would consider ‘feasible’ for a movie.
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