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Gareth von Kallenbach (980 KP) rated Saw (2004) in Movies
Aug 14, 2019
One of the most impressive cinematic debuts in memory has arrived in theaters and showcases a very impressive writer/director team that seem poised for great things based on a very impressive debut.
The film is “Saw” and it is a triumph of suspense, horror, and drama that harkens back to the classic work of David Fincher, and dare I say Hitchcock, as it is a bold and daring film, that is a fresh and creative as it is innovative.
The film is written by and features Leigh Whannell, as Adam, a young man who awakens in a dark room in a bathtub filled with water. Although disoriented, Adam soon discovers he is not alone, as he shares the room with another man, Dr. Lawrence Gordon (Cary Elwes), who like him, is chained at the ankle and trapped in the room.
As bad as this is, there is a dead body in the middle of the room that underscores the peril of the situation. Adam and Lawrence eventually discover audio tapes and a player that indicate that they are being held as they do not appreciate the life that they have and as such, are going to lose it unless they can prove how much they want to live.
Lawrence is told via the taped instructions that if he does not kill Adam by 6:00, then his wife and daughter will be killed and clues are given to indicate where to look in the decrepit room. The fact that Adam and Lawrence are chained and have very limited mobility forces the two of them to work with one another, despite the mistrust Adam has towards Lawrence as he was the one they tape said had to be killed.
Lawrence begins to tell Adam that he thinks he knows who is behind their situation, as there has been a series of murders in the area and he was suspect. Through a series of flashbacks Lawrence informs Adam about the Jigsaw killer, who places victims in perilous situations but provides them with a way out, provided they are willing to take extreme measures to show how much they want to live. The bizarre and gruesome situations lead to the introduction of Detective David Tapp (Danny Glover), who is investigating the grizzly trail left by the killer. In many ways, “Saw” become two movies in one as we learn about the history of the crimes, and the investigation leading up to the present situation between Lawrence and Adam. The film also cleverly guises certain events keeping the audience guessing as to if they happened in the past or are occurring in the present adding to the mystery and suspense.
As the story unfolds we learn more about Adam that underscores the tension and allows new avenues for the story to unfold. I will not spoil the twists and turns of the story but suffice it to say, there are plenty of red herrings and plot twists that will keep the audience guessing and some very creative and shocking twists and turns that culminates in an ending that will become one of the most talked about in film history and is destined to carve a niche in horror history.
Director James Wan, who also created the story, has crafted a visually gripping and disturbing film with a very effective pace that shows ability and talent well beyond his years. The film is so masterfully shot and organized that it is hard to believe that this is his first film, as Dramas can often be the downfall of many directors as they are unable to draw tension out of the material.
The screenplay by Whanell is gripping and effective. The characters are defined well within the context of their situations as it is vital to the story that information about the characters is slowly released to the audience in order to create and maintain the tension.
“Saw” is a true wonder as instead of being a simple horror film, it is a deeply complex and disturbing film that showcases two talented individuals in a very impressive debut. The images and story of the film stay with you long after the film ends and like it or love it “Saw” is a well crafted film that is not only disturbing, but refreshingly original. My only issue with the film is that it did drag just a bit while leading up to the finale, but that being said, “Saw” is easily the best horror film in many years.
The film is “Saw” and it is a triumph of suspense, horror, and drama that harkens back to the classic work of David Fincher, and dare I say Hitchcock, as it is a bold and daring film, that is a fresh and creative as it is innovative.
The film is written by and features Leigh Whannell, as Adam, a young man who awakens in a dark room in a bathtub filled with water. Although disoriented, Adam soon discovers he is not alone, as he shares the room with another man, Dr. Lawrence Gordon (Cary Elwes), who like him, is chained at the ankle and trapped in the room.
As bad as this is, there is a dead body in the middle of the room that underscores the peril of the situation. Adam and Lawrence eventually discover audio tapes and a player that indicate that they are being held as they do not appreciate the life that they have and as such, are going to lose it unless they can prove how much they want to live.
Lawrence is told via the taped instructions that if he does not kill Adam by 6:00, then his wife and daughter will be killed and clues are given to indicate where to look in the decrepit room. The fact that Adam and Lawrence are chained and have very limited mobility forces the two of them to work with one another, despite the mistrust Adam has towards Lawrence as he was the one they tape said had to be killed.
Lawrence begins to tell Adam that he thinks he knows who is behind their situation, as there has been a series of murders in the area and he was suspect. Through a series of flashbacks Lawrence informs Adam about the Jigsaw killer, who places victims in perilous situations but provides them with a way out, provided they are willing to take extreme measures to show how much they want to live. The bizarre and gruesome situations lead to the introduction of Detective David Tapp (Danny Glover), who is investigating the grizzly trail left by the killer. In many ways, “Saw” become two movies in one as we learn about the history of the crimes, and the investigation leading up to the present situation between Lawrence and Adam. The film also cleverly guises certain events keeping the audience guessing as to if they happened in the past or are occurring in the present adding to the mystery and suspense.
As the story unfolds we learn more about Adam that underscores the tension and allows new avenues for the story to unfold. I will not spoil the twists and turns of the story but suffice it to say, there are plenty of red herrings and plot twists that will keep the audience guessing and some very creative and shocking twists and turns that culminates in an ending that will become one of the most talked about in film history and is destined to carve a niche in horror history.
Director James Wan, who also created the story, has crafted a visually gripping and disturbing film with a very effective pace that shows ability and talent well beyond his years. The film is so masterfully shot and organized that it is hard to believe that this is his first film, as Dramas can often be the downfall of many directors as they are unable to draw tension out of the material.
The screenplay by Whanell is gripping and effective. The characters are defined well within the context of their situations as it is vital to the story that information about the characters is slowly released to the audience in order to create and maintain the tension.
“Saw” is a true wonder as instead of being a simple horror film, it is a deeply complex and disturbing film that showcases two talented individuals in a very impressive debut. The images and story of the film stay with you long after the film ends and like it or love it “Saw” is a well crafted film that is not only disturbing, but refreshingly original. My only issue with the film is that it did drag just a bit while leading up to the finale, but that being said, “Saw” is easily the best horror film in many years.
Gareth von Kallenbach (980 KP) rated Hellboy (2019) in Movies
Jul 2, 2019
Trivia question for you…what does an immortal evil queen, King Arthur, Nazis and a boy born from Hell itself have in common? If you answered Hellboy you win a prize. The prize is going to the theater and watching the film and whether it’s a prize worth winning is something you’ll have to decide for yourself. I’m getting a bit ahead of myself though, so let’s rewind a bit and start at the beginning.
Hellboy (David Harbour) is a demon from Hell (hence the name), his backstory as we learn early on in the movie is pretty standard fare. The Nazi’s are on the verge of losing World War II and in a desperate move to turn the tide call upon the evil sorcerer Rasputin to call upon the depths of Hell and raise a champion who will fight for them. The incantation is interrupted when famous Nazi hunter Lobster Johnson (Thomas Haden Church) goes in with guns blazing, as other allied troops join the fray. Their relief at stopping the incantation is short-lived as the alter opens and a young demon climbs through. Professor Broom who had infiltrated the Nazi team had been brought in to put down any evil that was successfully summoned. Upon seeing the young demon, Professor Broom (for reasons known only to him at the time) decides not to kill him, but to take him in and raise him as his own.
Flash forward to present day, and Hellboy as we now know him alongside his father are members of the B.P.R.D (Bureau for Paranormal Research and Defense). On a mission to defeat some giants that are roaming the countryside in England they stumble upon an ancient evil that dark forces are trying to retrieve. It seems back in the dark ages a war between humans and monsters was being waged. Seeing no end to the violence King Arthur (Mark Stanley) and his faithful wizard Merlin (Brian Gleeson) offer to surrender to The Blood Queen (Milla Jovovich). On top the hill where the surrender is to take place, the Blood Queen is betrayed by one of her own and King Arthur, using the infamous blade Excalibur, cut the Blood Queen into several parts. While she can’t be killed, she can be contained and each of her body parts are placed in separate boxes. These boxes are then sealed with holy water that only a holy man can unlock and are sent to the farthest corners of England. If the Blood Queen ever returns, she will release a plague that will not only destroy England but spread across the entire world. Thus, sets the stage for Hellboy.
Being a fan of the previous movies and in particular the portrayal of Hellboy by Ron Pearlman, I wasn’t sure how to feel about David Harbour in this role. It’s always a bit hit or miss when a series is rebooted, and I was pleasantly surprised with how David Harbour stepped up and into the role. While he doesn’t have the same menacing size and gruffness that Ron Pearlman possesses, it didn’t take me long to adjust to this new version. He is joined by a strong supporting cast consisting of Sasha Lane as his ghost whispering friend Alice and Ben Daimo as an MI-11 agent weary of teaming up with a monster. Milla Jovovich does an outstanding job as the Blood Queen and her fairy-pig friend portrayed by Stephen Graham and Douglas Tait.
Visually the movie is stunning, with the numerous monsters and fairy creatures coming to life before your eyes. The movie is exceptionally gory as one might expect, with numerous limb dismemberments, decapitations, and more blood than anyone would expect to erupt from such wounds. It’s over-the-top and meant to be that way which tended to bring some uncomfortable laughter at times from those around me. Having recently played Mortal Kombat 11, I couldn’t help but feel that some of the fatality screens in that game would have felt right at home in this movie.
Story is where I feel Hellboy falls a bit flat. There are so many characters and side stories going on that it’s easy to get lost in it. From my description above, you can see that it includes King Arthur, Rasputin, Nazis, Secret Societies, Witches that eat children, monsters…and that’s only in the first half of the movie. There is a ton going on and there are a lot of disconnects. While trying to avoid spoilers, there is a part in the film where Hellboy is talking to Baba Yaga (see another character reference), and after tricking her she places a curse on him. I’m still trying to figure out if the curse she placed on him occurred in the movie or not. In fact, I’m trying to figure out exactly what the point of that scene was. It’s not a bad story, but it tries to pack in a TON of references in its brief hour and forty five-ish minutes.
I’ll be the first to admit that I’ve never read any of the Hellboy graphic novels, I have seen both of the previous films, so I had a little bit of background going into this movie. I don’t know if all the references in the movie are pivotal to the novels or not. You certainly don’t have to have read them or seen the previous movies to appreciate this one, I just wonder if they tried to fit in too many Hellboy references into one film. Hellboy is an enjoyable ride, and it certainly doesn’t drag at all, in fact I was surprised at how quickly it was over. With all that being said, it’s a fun action-packed movie, with lots of gratuitous violence if that’s your thing. I certainly wouldn’t recommend taking your children to see it, violence aside, I just think there is way too much going on and it can be difficult to follow. Oh, and don’t forget to stay through the credits for the end credit scene. It’s not pivotal to the movie, but worth waiting around for.
Hellboy (David Harbour) is a demon from Hell (hence the name), his backstory as we learn early on in the movie is pretty standard fare. The Nazi’s are on the verge of losing World War II and in a desperate move to turn the tide call upon the evil sorcerer Rasputin to call upon the depths of Hell and raise a champion who will fight for them. The incantation is interrupted when famous Nazi hunter Lobster Johnson (Thomas Haden Church) goes in with guns blazing, as other allied troops join the fray. Their relief at stopping the incantation is short-lived as the alter opens and a young demon climbs through. Professor Broom who had infiltrated the Nazi team had been brought in to put down any evil that was successfully summoned. Upon seeing the young demon, Professor Broom (for reasons known only to him at the time) decides not to kill him, but to take him in and raise him as his own.
Flash forward to present day, and Hellboy as we now know him alongside his father are members of the B.P.R.D (Bureau for Paranormal Research and Defense). On a mission to defeat some giants that are roaming the countryside in England they stumble upon an ancient evil that dark forces are trying to retrieve. It seems back in the dark ages a war between humans and monsters was being waged. Seeing no end to the violence King Arthur (Mark Stanley) and his faithful wizard Merlin (Brian Gleeson) offer to surrender to The Blood Queen (Milla Jovovich). On top the hill where the surrender is to take place, the Blood Queen is betrayed by one of her own and King Arthur, using the infamous blade Excalibur, cut the Blood Queen into several parts. While she can’t be killed, she can be contained and each of her body parts are placed in separate boxes. These boxes are then sealed with holy water that only a holy man can unlock and are sent to the farthest corners of England. If the Blood Queen ever returns, she will release a plague that will not only destroy England but spread across the entire world. Thus, sets the stage for Hellboy.
Being a fan of the previous movies and in particular the portrayal of Hellboy by Ron Pearlman, I wasn’t sure how to feel about David Harbour in this role. It’s always a bit hit or miss when a series is rebooted, and I was pleasantly surprised with how David Harbour stepped up and into the role. While he doesn’t have the same menacing size and gruffness that Ron Pearlman possesses, it didn’t take me long to adjust to this new version. He is joined by a strong supporting cast consisting of Sasha Lane as his ghost whispering friend Alice and Ben Daimo as an MI-11 agent weary of teaming up with a monster. Milla Jovovich does an outstanding job as the Blood Queen and her fairy-pig friend portrayed by Stephen Graham and Douglas Tait.
Visually the movie is stunning, with the numerous monsters and fairy creatures coming to life before your eyes. The movie is exceptionally gory as one might expect, with numerous limb dismemberments, decapitations, and more blood than anyone would expect to erupt from such wounds. It’s over-the-top and meant to be that way which tended to bring some uncomfortable laughter at times from those around me. Having recently played Mortal Kombat 11, I couldn’t help but feel that some of the fatality screens in that game would have felt right at home in this movie.
Story is where I feel Hellboy falls a bit flat. There are so many characters and side stories going on that it’s easy to get lost in it. From my description above, you can see that it includes King Arthur, Rasputin, Nazis, Secret Societies, Witches that eat children, monsters…and that’s only in the first half of the movie. There is a ton going on and there are a lot of disconnects. While trying to avoid spoilers, there is a part in the film where Hellboy is talking to Baba Yaga (see another character reference), and after tricking her she places a curse on him. I’m still trying to figure out if the curse she placed on him occurred in the movie or not. In fact, I’m trying to figure out exactly what the point of that scene was. It’s not a bad story, but it tries to pack in a TON of references in its brief hour and forty five-ish minutes.
I’ll be the first to admit that I’ve never read any of the Hellboy graphic novels, I have seen both of the previous films, so I had a little bit of background going into this movie. I don’t know if all the references in the movie are pivotal to the novels or not. You certainly don’t have to have read them or seen the previous movies to appreciate this one, I just wonder if they tried to fit in too many Hellboy references into one film. Hellboy is an enjoyable ride, and it certainly doesn’t drag at all, in fact I was surprised at how quickly it was over. With all that being said, it’s a fun action-packed movie, with lots of gratuitous violence if that’s your thing. I certainly wouldn’t recommend taking your children to see it, violence aside, I just think there is way too much going on and it can be difficult to follow. Oh, and don’t forget to stay through the credits for the end credit scene. It’s not pivotal to the movie, but worth waiting around for.
theVman (16 KP) rated Twin Peaks - Season 3 in TV
May 22, 2017
The Cast (1 more)
The new mysterys
Lack of the familar Twin Peaks stuff (2 more)
The way the story unfolds
Very Slow
The first four episodes
Twin Peaks: The Return
*** Ive tried to write this as spoiler free as i can, you may find some in here but nothing that i think would ruin watching the show for you ***
I don’t think it will come to anyones surprise to say that the first four episodes of Twin Peaks return are strange. But maybe not in the way that we know and love.
I found these first four episodes difficult to enjoy not because they were bad, but because it was not what I was expecting at all. I wanted the key things that I love about Twin Peaks to be there, the returning characters, the iconic score by Angleo Badalamenti, the quirky weirdness grounded by soap opera like stories. I wanted the dark seriousness of murder, lust and money, beautifully intertwined with the ridiculousness of silent drape runners, saving the pine weasel and miss twin peaks contests.Unfortunately I found very little of any of what I wanted.
Yes Cooper is back or more accurately Kyle Maclachlan is back but has yet to act or sound anything like Special Agent Dale Cooper at all, the story calling for him to play a very lifeless rendition of his former glory. Other familiar faces have shown up along the way, but not very many and for not very long at all.
What we have is something very Lynchian, long drawn out scenes, especially in The Black Lodge that after extended moments of a droning humming score and lot of not a lot going on in slow motion followed by more not a lot going on but this time with a white horse or a talking lump of flesh on a leafless tree in the picture, it starts to feel like a lot of weird stuff just for sheer sake of being weird.
Fans of the previous seasons of Twin Peaks might be left wondering what is going on with the stories that were left open, is Leo still holding that rope in his mouth, what happened after the explosion in the bank vault, and what the hell has happened to Annie – well you wont find any of these answers here. Instead we are given a whole bunch of new characters, who’s stories we are still trying to figure out and how they are related to the events of Twin Peaks, which is a made into a bigger and more confusing mystery seeing as none of them actually take place in Twin Peaks at all. In fact, the most recognisable place in the first few hours is The Black Lodge, which features extensively in the first two episodes before “Cooper” bizarrely ends up in Las Vegas. Also knocking us out of our comfort zone and driving home the fact that this is not the same kind of Twin Peaks show we are used to, are the occasional F bombs being dropped and the coy sexiness that flowed through the show has been replaced with plain nudity.
We have been given vision that is pure David Lynch. He produces some fantastical imagery and some unnerving editing that is like watching Eraserhead, Lost Highway and Fire Walk With Me all at the same time on the same screen. As a piece of art it has its place amongst Lynch fans, but as a piece of entertainment for prime time television, it missed the mark for me, and as a return to Twin Peaks, it should be ashamed of itself, as apart from 30 seconds or so in episode 4 where here the familiar twangs of the original score, I didn’t feel like there was any return to that great tv show from the early 90s. There is the odd nugget of new that will keep me watching, Naomi Watts and Matthew Lillard have joined the team in what promises to be entertaining roles, there is a glass box that is being kept in some kind of secret bunker under constant video monitoring that seems to have something to do with The Black Lodge, the log lady is getting message from her log again, a body that doesn’t belong to its head and we are still hanging out at the Bang Bang Bar with Bobby, Shelley and James even if it was for far too brief at time.
Overall: It didn’t deliver on its promise, or give me what I wanted, but there is still a lot more episodes to come. I cant think of another show that would get away with such a slow build or lack of deliverance than the new third season of Twin Peaks.
*** Ive tried to write this as spoiler free as i can, you may find some in here but nothing that i think would ruin watching the show for you ***
I don’t think it will come to anyones surprise to say that the first four episodes of Twin Peaks return are strange. But maybe not in the way that we know and love.
I found these first four episodes difficult to enjoy not because they were bad, but because it was not what I was expecting at all. I wanted the key things that I love about Twin Peaks to be there, the returning characters, the iconic score by Angleo Badalamenti, the quirky weirdness grounded by soap opera like stories. I wanted the dark seriousness of murder, lust and money, beautifully intertwined with the ridiculousness of silent drape runners, saving the pine weasel and miss twin peaks contests.Unfortunately I found very little of any of what I wanted.
Yes Cooper is back or more accurately Kyle Maclachlan is back but has yet to act or sound anything like Special Agent Dale Cooper at all, the story calling for him to play a very lifeless rendition of his former glory. Other familiar faces have shown up along the way, but not very many and for not very long at all.
What we have is something very Lynchian, long drawn out scenes, especially in The Black Lodge that after extended moments of a droning humming score and lot of not a lot going on in slow motion followed by more not a lot going on but this time with a white horse or a talking lump of flesh on a leafless tree in the picture, it starts to feel like a lot of weird stuff just for sheer sake of being weird.
Fans of the previous seasons of Twin Peaks might be left wondering what is going on with the stories that were left open, is Leo still holding that rope in his mouth, what happened after the explosion in the bank vault, and what the hell has happened to Annie – well you wont find any of these answers here. Instead we are given a whole bunch of new characters, who’s stories we are still trying to figure out and how they are related to the events of Twin Peaks, which is a made into a bigger and more confusing mystery seeing as none of them actually take place in Twin Peaks at all. In fact, the most recognisable place in the first few hours is The Black Lodge, which features extensively in the first two episodes before “Cooper” bizarrely ends up in Las Vegas. Also knocking us out of our comfort zone and driving home the fact that this is not the same kind of Twin Peaks show we are used to, are the occasional F bombs being dropped and the coy sexiness that flowed through the show has been replaced with plain nudity.
We have been given vision that is pure David Lynch. He produces some fantastical imagery and some unnerving editing that is like watching Eraserhead, Lost Highway and Fire Walk With Me all at the same time on the same screen. As a piece of art it has its place amongst Lynch fans, but as a piece of entertainment for prime time television, it missed the mark for me, and as a return to Twin Peaks, it should be ashamed of itself, as apart from 30 seconds or so in episode 4 where here the familiar twangs of the original score, I didn’t feel like there was any return to that great tv show from the early 90s. There is the odd nugget of new that will keep me watching, Naomi Watts and Matthew Lillard have joined the team in what promises to be entertaining roles, there is a glass box that is being kept in some kind of secret bunker under constant video monitoring that seems to have something to do with The Black Lodge, the log lady is getting message from her log again, a body that doesn’t belong to its head and we are still hanging out at the Bang Bang Bar with Bobby, Shelley and James even if it was for far too brief at time.
Overall: It didn’t deliver on its promise, or give me what I wanted, but there is still a lot more episodes to come. I cant think of another show that would get away with such a slow build or lack of deliverance than the new third season of Twin Peaks.
Movie Metropolis (309 KP) rated Glass (2019) in Movies
Jun 10, 2019
An ambitious but flawed finale
M. Night Shyamalan is back behind the camera! Quick, run! Joking aside, Shyamalan’s career is as convoluted as his signature third-act twists. Starting off with the fabulous The Sixth Sense and then almost derailing his career with catastrophic failures like The Happening, After Earth and dare I mention it, The Last Airbender, it appeared we had all but lost that once promising directorial flair.
Thankfully in 2016’s Split, Shyamalan returned to form somewhat with a nicely paced, tense thriller starring James McAvoy as Kevin, a guy with multiple personality disorder. Of course, the infamous twist, possibly Shyamalan’s best, that this film was set in the same universe as the fabulous Unbreakable was almost too much to handle.
Fast-forward three years and Glass is the film that rounds out the surprise trilogy, bringing together McAvoy, Bruce Willis and Samuel L Jackson for the mother of all showdowns. Or that’s what the trailers would have you believe. But what’s the finished product like?
Three weeks after the conclusion of Split, Glass finds Bruce Willis’ David Dunn pursuing James McAvoy’s superhuman figure of The Beast in a series of escalating encounters, while the shadowy presence of Elijah Price (Samuel L Jackson) emerges as an orchestrator who holds secrets critical to both men. Sandwiched in between this is Sarah Paulson’s Dr Ellie Staple who desperately wants to prove that these men simply hold delusions of grandeur.
As a rule, trilogy closers generally tend to the weakest of the three films with Spider-Man 3, Return of the Jedi and X-Men: Apocalypse cementing my point and Glass unfortunately follows a similar pattern. While by no means a bad film, Shyamalan desperately tries to add too many plot threads into the mix at the end resulting in a messy climax that trips all over itself.
Thankfully, the first act, and the majority of the second live up to expectations. James McAvoy is absolutely exceptional as Kevin and his multiple personalities. Switching between them at the flash of a light, he is staggering to watch and is the highlight in a film that for the most part, gets the best out of its stars. Samuel L Jackson and Sarah Paulson are great with the former looking like he’s having an absolute blast reprising a role that’s been dormant for 19 years.
The less said about Bruce Willis the better. He seems to be sleepwalking through the entire film, so it’s probably for the best that he appears fleetingly every now and then as this is very much McAvoy’s film.
Glass is a film that is both longer and weaker than its two predecessors but can still get by on its own merits thanks to a stunning performance by James McAvoy
The script is typical Shyamalan. It’s clunky, filled with overly expositional dialogue and sometimes downright jarring, but the intriguing premise allows you to overlook this more often than not. There are some nice touches as Sarah Paulson’s character tries to explain away the powers of the main trio, making them and us as the audience doubt their superhuman abilities.
Those expecting a film packed with action will be disappointed. Glass is very much a character piece. The action that is there is well-filmed and realistic considering the film’s incredibly small budget, but it’s limited to the beginning and end of the movie, though the finale is such a mess that it’s really not worth mentioning.
Much of Glass takes place within the Raven Hill Memorial Hospital and follows Paulson’s daily studies of the trio and while this does dampen the pacing somewhat, it’s a refreshing change to the action-packed blockbusters that we have become accustomed to in the genre.
When it comes to cinematography, again, it’s typical Shyamalan. Long-tracking shots, super close-ups and peculiar camera angles are all present and correct. In Split, the impact of his unusual camerawork wasn’t too grating, but here it creates quite the distraction. There’s also another Shyamalan staple: the director’s cameo. The one in Glass is overly long and completely unnecessary, but it’s something we’ve come to expect over the last couple of decades.
Overall, Glass is a film that is both longer and weaker than its two predecessors but can still get by on its own merits thanks to a stunning performance by James McAvoy, the class brought by Samuel L Jackson and Sarah Paulson and a great sense of ambition. Unfortunately, budgetary restraints have resulted in a film that is subtle to the point of being dull and while praise should be given for effort, Glass proves to be just a little underwhelming.
https://moviemetropolis.net/2019/01/19/glass-review-an-ambitious-but-flawed-finale/
Thankfully in 2016’s Split, Shyamalan returned to form somewhat with a nicely paced, tense thriller starring James McAvoy as Kevin, a guy with multiple personality disorder. Of course, the infamous twist, possibly Shyamalan’s best, that this film was set in the same universe as the fabulous Unbreakable was almost too much to handle.
Fast-forward three years and Glass is the film that rounds out the surprise trilogy, bringing together McAvoy, Bruce Willis and Samuel L Jackson for the mother of all showdowns. Or that’s what the trailers would have you believe. But what’s the finished product like?
Three weeks after the conclusion of Split, Glass finds Bruce Willis’ David Dunn pursuing James McAvoy’s superhuman figure of The Beast in a series of escalating encounters, while the shadowy presence of Elijah Price (Samuel L Jackson) emerges as an orchestrator who holds secrets critical to both men. Sandwiched in between this is Sarah Paulson’s Dr Ellie Staple who desperately wants to prove that these men simply hold delusions of grandeur.
As a rule, trilogy closers generally tend to the weakest of the three films with Spider-Man 3, Return of the Jedi and X-Men: Apocalypse cementing my point and Glass unfortunately follows a similar pattern. While by no means a bad film, Shyamalan desperately tries to add too many plot threads into the mix at the end resulting in a messy climax that trips all over itself.
Thankfully, the first act, and the majority of the second live up to expectations. James McAvoy is absolutely exceptional as Kevin and his multiple personalities. Switching between them at the flash of a light, he is staggering to watch and is the highlight in a film that for the most part, gets the best out of its stars. Samuel L Jackson and Sarah Paulson are great with the former looking like he’s having an absolute blast reprising a role that’s been dormant for 19 years.
The less said about Bruce Willis the better. He seems to be sleepwalking through the entire film, so it’s probably for the best that he appears fleetingly every now and then as this is very much McAvoy’s film.
Glass is a film that is both longer and weaker than its two predecessors but can still get by on its own merits thanks to a stunning performance by James McAvoy
The script is typical Shyamalan. It’s clunky, filled with overly expositional dialogue and sometimes downright jarring, but the intriguing premise allows you to overlook this more often than not. There are some nice touches as Sarah Paulson’s character tries to explain away the powers of the main trio, making them and us as the audience doubt their superhuman abilities.
Those expecting a film packed with action will be disappointed. Glass is very much a character piece. The action that is there is well-filmed and realistic considering the film’s incredibly small budget, but it’s limited to the beginning and end of the movie, though the finale is such a mess that it’s really not worth mentioning.
Much of Glass takes place within the Raven Hill Memorial Hospital and follows Paulson’s daily studies of the trio and while this does dampen the pacing somewhat, it’s a refreshing change to the action-packed blockbusters that we have become accustomed to in the genre.
When it comes to cinematography, again, it’s typical Shyamalan. Long-tracking shots, super close-ups and peculiar camera angles are all present and correct. In Split, the impact of his unusual camerawork wasn’t too grating, but here it creates quite the distraction. There’s also another Shyamalan staple: the director’s cameo. The one in Glass is overly long and completely unnecessary, but it’s something we’ve come to expect over the last couple of decades.
Overall, Glass is a film that is both longer and weaker than its two predecessors but can still get by on its own merits thanks to a stunning performance by James McAvoy, the class brought by Samuel L Jackson and Sarah Paulson and a great sense of ambition. Unfortunately, budgetary restraints have resulted in a film that is subtle to the point of being dull and while praise should be given for effort, Glass proves to be just a little underwhelming.
https://moviemetropolis.net/2019/01/19/glass-review-an-ambitious-but-flawed-finale/
Mike Wilder (20 KP) rated Road House (1989) in Movies
May 30, 2018
Very underrated
Contains spoilers, click to show
So what kind of film do you get when you have great one liners, bar fights, guns, knives, egos, strippers, blues music, a polar bear and a monster truck? You get one of the most enjoyable and entertaining films of the late 80's, Road House. The film follows James Dalton (Patrick Swayze) a cooler (bouncer) and the best in the business, as he takes employment with Frank Tilghman (Kevin Tighe) the owner of the Double Deuce in Jasper, Missouri. The bar is the roughest in town and he needs Dalton to clean it up. However corrupt business man and crime boss Brad Wesley (Ben Gazzara) stands in his way. After the classic "chick flick" Dirty Dancing, Patrick Swayze was Hollywood gold. Women loved him and men wanted to be him. The film was full of romance. Then along came Road House, a complete opposite to Dirty Dancing, a little romance and loads of action. The film has a great cast including Patrick Swayze, Kevin Tighe, Ben Gazzara, Kelly Lynch, Marshall R. Teague, Red West, Kathleen Wilhoite, John William Young, John Doe, Kurt James Stefka, Keith David & Terry Funk. The cast works well together and it is full of great performances. Naturally Patrick Swayze at the height of his career stands miles apart from the rest of the cast as Dalton. A character that can hurt you with his words just as much as his fists. Tragically, 20 years later Swayze had his life cut short by cancer. His death is still a major loss to the entertainment industry, but his legacy will live on in the great performances and memorable characters he played. The film also a features a great performance by the late great blues guitarist Jeff Healey as Cody. It's the music in the film that goes a long way to achieving the right feel for the film. Everything works well from the characters, the music to the setting. Set in a rural area the scenery is breath-taking and it is used to great effect. But it's the fight choreography that stands out from many other films. Great bar fights are pretty much a thing of the past, but here they are full of action and humour just like the classic westerns. The one on one fights are brutal, mainly for the realism they portray. The script is awesome and full of classic lines mainly from Dalton and although many are cheesy, when he says it, it feels right. The director surprisingly hasn't made many films but the ones I have seen of his I really like and I know I am in the minority. See my review of Gladiator (1992) for more by this director. This is truly a great film, although very underrated. It is also one of my personal all-time favourites. There are a couple of versions of this so ensure that you see the USA or UK version released after 2002 as these are the uncut editions. So grab a few beers and a few friends, but this on a big screen and turn the sound way up for a really great movie experience.
Gareth von Kallenbach (980 KP) rated Suicide Squad (2016) in Movies
Jun 19, 2019
For years we have seen the Super Hero ensemble film where bands of heroes form up to save the day. But in “Suicide Squad” we get a twist on the theme and the audience actually gets to cheer on the villains for a change.
After the events of “Batman Vs Superman: Dawn of Justice”, Agent Amada Waller (Viola Davis), hatches a plan to use the greatest threats to security as an asset that can be used against unstoppable enemies.
Waller forms a team comprised of the worst of the worst who are incarcerated at a Black Site prison and savors having skilled, deadly, yet highly expendable assets at her disposal should the need arise for their unique talents.
Not long after getting approval for her plan, events are set into motion which requires her dangerous plan to be called into action as a threat of extreme danger emerges and time is off the essence, as such Hitman Deadshot (Will Smith), psychotic Harley Quinn (Margot Robbie), and various other sordid members of the team are dispatched under the watchful eye of Agent Flag (Joel Kinnaman), who has orders to detonate an internal explosive on any team member who turns on his team, becomes defiant, or attempts escape from their control.
Though dysfunctional and unstable the team is highly efficient at their task and soon the group is making progress despite overwhelming odds against them. As if the threat facing them was not enough, The Joker (Jared Leto) is determined to get Harley back and will allow nothing to get in his way, no matter how high the body count rises.
What follows is an exciting if at times formulaic action film that mixes in humor, action, and solid characters to create a winning formula.
Writer/Director David Ayers wisely let his stars carry the film and Smith is in vintage form with his mix of one liners and action which is a welcome return to form. Robbie shines as Quinn as her portrayal of the emotional, volatile, and psychotic character is a grand performance. It would have been very easy to make the character one dimensional or too over the top, yet she blends a clever and psychotic tapestry that shows the many layers of this complicated character.
The supporting cast does solid work but special praise needs to be given to Jared Leto for his inspired take on The Joker. Leto plays him with an animalistic and feral manner that plays up the dangerous and highly unstable nature of the character. You never know which way his character will move or what action he will take next, but you know that danger and menace are a constant companion.
The story is a bit by the numbers and the big threat developed rather quickly rather than having any real build up, but for what is essentially an introduction to the characters, the bulk of the attention was spent on the members of the team and their interactions with one another.
In a summer filled with big budget disappointments, “Suicide Squad” is an enjoyable adventure that delivers what it promises and more.
http://sknr.net/2016/08/02/suicide-squad/
After the events of “Batman Vs Superman: Dawn of Justice”, Agent Amada Waller (Viola Davis), hatches a plan to use the greatest threats to security as an asset that can be used against unstoppable enemies.
Waller forms a team comprised of the worst of the worst who are incarcerated at a Black Site prison and savors having skilled, deadly, yet highly expendable assets at her disposal should the need arise for their unique talents.
Not long after getting approval for her plan, events are set into motion which requires her dangerous plan to be called into action as a threat of extreme danger emerges and time is off the essence, as such Hitman Deadshot (Will Smith), psychotic Harley Quinn (Margot Robbie), and various other sordid members of the team are dispatched under the watchful eye of Agent Flag (Joel Kinnaman), who has orders to detonate an internal explosive on any team member who turns on his team, becomes defiant, or attempts escape from their control.
Though dysfunctional and unstable the team is highly efficient at their task and soon the group is making progress despite overwhelming odds against them. As if the threat facing them was not enough, The Joker (Jared Leto) is determined to get Harley back and will allow nothing to get in his way, no matter how high the body count rises.
What follows is an exciting if at times formulaic action film that mixes in humor, action, and solid characters to create a winning formula.
Writer/Director David Ayers wisely let his stars carry the film and Smith is in vintage form with his mix of one liners and action which is a welcome return to form. Robbie shines as Quinn as her portrayal of the emotional, volatile, and psychotic character is a grand performance. It would have been very easy to make the character one dimensional or too over the top, yet she blends a clever and psychotic tapestry that shows the many layers of this complicated character.
The supporting cast does solid work but special praise needs to be given to Jared Leto for his inspired take on The Joker. Leto plays him with an animalistic and feral manner that plays up the dangerous and highly unstable nature of the character. You never know which way his character will move or what action he will take next, but you know that danger and menace are a constant companion.
The story is a bit by the numbers and the big threat developed rather quickly rather than having any real build up, but for what is essentially an introduction to the characters, the bulk of the attention was spent on the members of the team and their interactions with one another.
In a summer filled with big budget disappointments, “Suicide Squad” is an enjoyable adventure that delivers what it promises and more.
http://sknr.net/2016/08/02/suicide-squad/
Darren (1599 KP) rated American Mary (2013) in Movies
Jun 20, 2019
Story: Key words here original, clever and dark all these make this something very special. It fuses different motives for each character instead of just using one motive to drive them. Once you have seen this story you will always remember it too. (9/10)
Actor Review: Katharine Isabelle – Mary who enters the world of body modification. Great performances in which she stays calm in every situation which is needed to create a very impressive character. Very haunting character and a welcome addition to horror icons. Star Performance Award (9/10)
mary
Actor Review: Antonio Cupo – Billy club owner and seemingly small time gangster who helps Mary to complete her jobs. Good character which slowly becomes the only moral compass in the film. (7/10)
billy
Actor Review: Tristen Risk – Beatress a lady who spends all her money on making herself into a fictional character. Very quirky character which you will remember once you have first seen her on the screen and hears her voice. (8/10)
beatirce
Actor Review: David Lovgren – Doctor Grant a Doctor who expects the best from his students but also takes advantage of them. Typical take advantage Doctor does enough to drive Mary to the next stage of her spiral into the underworld. Good performance and creates a character that is meant to be disliked. (7/10)
grant
Actor Review: Paula Lindberg – Ruby Realgirl who has presidia done to turn her into a doll. The extremes this character goes to and the final reveal off the work is something you will remember. (8/10)
Director Review: Jen Soska, Sylvia Soska – The second film by the Twisted Twins and this time they step up to a new level giving an original story with some very memorable scenes. (9/10)
Cameo by the Twisted Twins
Cameo by the Twisted Twins
Horror: A welcome addition to the horror genre with some very disturbing scenes. (9/10)
Thriller: Very good build using revenge filled suspense for some actions as well as good suspense to see what Mary will do next. (9/10)
Special Effects: There are some brilliant special effects used to create that body modifications. (9/10)
Believability: People will do some very strange things to their body so you could say this is quite believable. (8/10)
Chances of Tears: No (0/10)
Settings: Most of the film is set between two locations, Mary’s apartment and a metal strip club for alternative music fans. Both work as this shows the two main places Mary works and makes her money. (8/10)
Suggestion: In the world of horror it is very unusual to see something different. This is that something different and once you have seen it you will remember it. I suggest all horror fans must watch this as it is one of the most original films to come out in a very long time. (Watch)
Best Part: Mary’s revenge on Doctor Grant.
Kill Of The Film: Security guard as it shows how far Mary has gone.
Oscar Chances: No
Chances of Sequel: No
Overall: Dark, delicious and brilliant
https://moviesreview101.com/2014/01/17/american-mary-2012/
Actor Review: Katharine Isabelle – Mary who enters the world of body modification. Great performances in which she stays calm in every situation which is needed to create a very impressive character. Very haunting character and a welcome addition to horror icons. Star Performance Award (9/10)
mary
Actor Review: Antonio Cupo – Billy club owner and seemingly small time gangster who helps Mary to complete her jobs. Good character which slowly becomes the only moral compass in the film. (7/10)
billy
Actor Review: Tristen Risk – Beatress a lady who spends all her money on making herself into a fictional character. Very quirky character which you will remember once you have first seen her on the screen and hears her voice. (8/10)
beatirce
Actor Review: David Lovgren – Doctor Grant a Doctor who expects the best from his students but also takes advantage of them. Typical take advantage Doctor does enough to drive Mary to the next stage of her spiral into the underworld. Good performance and creates a character that is meant to be disliked. (7/10)
grant
Actor Review: Paula Lindberg – Ruby Realgirl who has presidia done to turn her into a doll. The extremes this character goes to and the final reveal off the work is something you will remember. (8/10)
Director Review: Jen Soska, Sylvia Soska – The second film by the Twisted Twins and this time they step up to a new level giving an original story with some very memorable scenes. (9/10)
Cameo by the Twisted Twins
Cameo by the Twisted Twins
Horror: A welcome addition to the horror genre with some very disturbing scenes. (9/10)
Thriller: Very good build using revenge filled suspense for some actions as well as good suspense to see what Mary will do next. (9/10)
Special Effects: There are some brilliant special effects used to create that body modifications. (9/10)
Believability: People will do some very strange things to their body so you could say this is quite believable. (8/10)
Chances of Tears: No (0/10)
Settings: Most of the film is set between two locations, Mary’s apartment and a metal strip club for alternative music fans. Both work as this shows the two main places Mary works and makes her money. (8/10)
Suggestion: In the world of horror it is very unusual to see something different. This is that something different and once you have seen it you will remember it. I suggest all horror fans must watch this as it is one of the most original films to come out in a very long time. (Watch)
Best Part: Mary’s revenge on Doctor Grant.
Kill Of The Film: Security guard as it shows how far Mary has gone.
Oscar Chances: No
Chances of Sequel: No
Overall: Dark, delicious and brilliant
https://moviesreview101.com/2014/01/17/american-mary-2012/
Ryan Hill (152 KP) rated Spider-Man (2002) in Movies
Jun 30, 2019
" With great power comes great responsibility"
One of the first movies to pave the groundwork for modern superhero flicks, Spider-Man is an incredibly fun & endlessly entertaining action-adventure that brings its web-slinging hero to life on the silver screen in a truly fascinating manner after spending nearly a quarter of a century in development hell and, with its record-breaking box office performance, acts as a precursor to an era when superheroes would dominate the summer box-office.
Based on the Marvel Comics character of the same name, the story of Spider-Man follows Peter Parker; a high-school kid who after being bitten by a radioactive spider at a genetic laboratory begins to develop spider-like abilities and puts his new powers to good use by turning to crimefighting. Meanwhile, Norman Osborn experiments a power-enhancing drug on himself as a desperate attempt to preserve a military contract critical for his company's survival.
Directed by Sam Raimi, Spider-Man has all the ingredients of a summer blockbuster plus it benefits a lot from Raimi's dynamic filmmaking style that doesn't dwell on a single moment for far too long, keeps the story fresh, light-hearted & action-packed for the most part, plus never loses its initially-gained momentum. David Koepp's screenplay is no slouch either for it packs in a compelling plot & few interesting characters and the whole story is cheesy but well humoured.
The technical aspects are all brilliantly executed. Camerawork is excellent for the most part for the chosen angles, swift movements, slow-mo shots & warm colour palette are correctly employed. Editing provides a frenetic pace to its narrative, each moment has a role to play, and its 121 minutes of runtime simply flies by. Visual effects team makes use of both CGI & practical stuntwork and it's amazing just how well it has aged when compared to other effects-laden movies released back then.
Coming to the performances, Spider-Man packs in a very interesting cast in Tobey Maguire, Kirsten Dunst, James Franco, Willem Dafoe, J.K. Simmons & others, and many of them are pretty convincing in their given roles. Maguire does a terrific job under Raimi's supervision, Dafoe plays Norman Osborn with finesse but that Green Goblin suit is extremely off-putting, Simmons is a near-perfect rendition of J. Jonah Jameson from the comics while both Dunst & Franco do a fine job as Mary Jane Watson & Harry Osborn, respectively.
Also worthy of admiration is Danny Elfman's outstanding score that captures just the right tone & feel of your friendly neighbourhood Spider-Man's universe and brims with tracks that seamlessly integrate into the story. On an overall scale, Spider-Man may not seem as impressive today as it did back when it made its debut on the silver screen but it still remains one of the best offerings of its category and delivers a roller-coasted ride that's enjoyable, entertaining & highly satisfying. Spider-Man is a summer popcorn extravaganza right on the money.
Based on the Marvel Comics character of the same name, the story of Spider-Man follows Peter Parker; a high-school kid who after being bitten by a radioactive spider at a genetic laboratory begins to develop spider-like abilities and puts his new powers to good use by turning to crimefighting. Meanwhile, Norman Osborn experiments a power-enhancing drug on himself as a desperate attempt to preserve a military contract critical for his company's survival.
Directed by Sam Raimi, Spider-Man has all the ingredients of a summer blockbuster plus it benefits a lot from Raimi's dynamic filmmaking style that doesn't dwell on a single moment for far too long, keeps the story fresh, light-hearted & action-packed for the most part, plus never loses its initially-gained momentum. David Koepp's screenplay is no slouch either for it packs in a compelling plot & few interesting characters and the whole story is cheesy but well humoured.
The technical aspects are all brilliantly executed. Camerawork is excellent for the most part for the chosen angles, swift movements, slow-mo shots & warm colour palette are correctly employed. Editing provides a frenetic pace to its narrative, each moment has a role to play, and its 121 minutes of runtime simply flies by. Visual effects team makes use of both CGI & practical stuntwork and it's amazing just how well it has aged when compared to other effects-laden movies released back then.
Coming to the performances, Spider-Man packs in a very interesting cast in Tobey Maguire, Kirsten Dunst, James Franco, Willem Dafoe, J.K. Simmons & others, and many of them are pretty convincing in their given roles. Maguire does a terrific job under Raimi's supervision, Dafoe plays Norman Osborn with finesse but that Green Goblin suit is extremely off-putting, Simmons is a near-perfect rendition of J. Jonah Jameson from the comics while both Dunst & Franco do a fine job as Mary Jane Watson & Harry Osborn, respectively.
Also worthy of admiration is Danny Elfman's outstanding score that captures just the right tone & feel of your friendly neighbourhood Spider-Man's universe and brims with tracks that seamlessly integrate into the story. On an overall scale, Spider-Man may not seem as impressive today as it did back when it made its debut on the silver screen but it still remains one of the best offerings of its category and delivers a roller-coasted ride that's enjoyable, entertaining & highly satisfying. Spider-Man is a summer popcorn extravaganza right on the money.
LeftSideCut (3776 KP) rated Brightburn (2019) in Movies
Jan 9, 2020
Contains spoilers, click to show
Brightburn is a mostly solid 'superhero' horror that sets out what it means to do. The narrative plays out a bit like an issue of Marvel's What If? - in this case, what if an alien baby crashed to earth, much like Superman, but grew up to be a danger to mankind.
One of the main issues I had with Brightburn rears it head pretty early on - it doesn't spend a huge amount of time establishing 12 year old Brandon (Jackson A. Dunn) before hurtling straight into his turn to evil. It's not the biggest deal I guess, the movie does enough to set up the main bulk of the plot, but I can't help but feel that the execution would have been more effective if the set up had been a bit more drawn out.
We're also introduced to Brandon's parents, the people who found him when he was a baby and raised him as their own, Tori and Kyle, played by Elizabeth Banks and David Denman. Both actors are great throughout, but their characters are a bit iffy. There's a lot silliness going on - Tori takes an abnormally long time to accept that Brandon in dangerous, even when loved ones are being murdered around her - she purposefully keeps information from Kyle about Brandon nearly stumbling across the spaceship he arrived in, even though that should really be something shared considering how Brandon is an alien and all that - at one point, Kyle tries to get one over on Brandon by shooting him in the head when he's not looking, despite clearly stating earlier on in the movie that Brandon has never even bled throughout his whole life...
It sounds like nitpicking, but it's just silliness that is very obviously included to easily advance the plot, and it's a little distracting.
The special effects used are mostly good, but they are purposely done quickly to avoid much room for scrutiny, however, there are some really great shots throughout Brightburn, especially in the third act. Brandon's costume design is suitably creepy, his mask looks almost Mothman-esque, and his glowing red eyes make him a genuinely sinister looking villain.
The violence in Brightburn really packs a punch as well... It doesn't happen often, but when it does, it's creative, and brutal. The movie leans a little into jump scare territory, but just about toes the line, and provides a decent enough unsettling atmosphere to justify it.
On a final note, it always refreshing when a Hollywood film like this has the balls to end in the way it does. The movie sets up Brandon for defeat and failure, and it just doesn't happen. The bad guys win and that's that. The ending credits feature news reports showing Brandon in the following weeks wreaking havoc all over the place, and it sets up a sequel which I don't think will happen due to box office reasons. Which is a shame, because even though Brightburn has its flaws, it still kept me involved.
Worth checking out for superhero and horror fans alike.
One of the main issues I had with Brightburn rears it head pretty early on - it doesn't spend a huge amount of time establishing 12 year old Brandon (Jackson A. Dunn) before hurtling straight into his turn to evil. It's not the biggest deal I guess, the movie does enough to set up the main bulk of the plot, but I can't help but feel that the execution would have been more effective if the set up had been a bit more drawn out.
We're also introduced to Brandon's parents, the people who found him when he was a baby and raised him as their own, Tori and Kyle, played by Elizabeth Banks and David Denman. Both actors are great throughout, but their characters are a bit iffy. There's a lot silliness going on - Tori takes an abnormally long time to accept that Brandon in dangerous, even when loved ones are being murdered around her - she purposefully keeps information from Kyle about Brandon nearly stumbling across the spaceship he arrived in, even though that should really be something shared considering how Brandon is an alien and all that - at one point, Kyle tries to get one over on Brandon by shooting him in the head when he's not looking, despite clearly stating earlier on in the movie that Brandon has never even bled throughout his whole life...
It sounds like nitpicking, but it's just silliness that is very obviously included to easily advance the plot, and it's a little distracting.
The special effects used are mostly good, but they are purposely done quickly to avoid much room for scrutiny, however, there are some really great shots throughout Brightburn, especially in the third act. Brandon's costume design is suitably creepy, his mask looks almost Mothman-esque, and his glowing red eyes make him a genuinely sinister looking villain.
The violence in Brightburn really packs a punch as well... It doesn't happen often, but when it does, it's creative, and brutal. The movie leans a little into jump scare territory, but just about toes the line, and provides a decent enough unsettling atmosphere to justify it.
On a final note, it always refreshing when a Hollywood film like this has the balls to end in the way it does. The movie sets up Brandon for defeat and failure, and it just doesn't happen. The bad guys win and that's that. The ending credits feature news reports showing Brandon in the following weeks wreaking havoc all over the place, and it sets up a sequel which I don't think will happen due to box office reasons. Which is a shame, because even though Brightburn has its flaws, it still kept me involved.
Worth checking out for superhero and horror fans alike.
BankofMarquis (1832 KP) rated See how they run (2022) in Movies
Dec 8, 2022
Despite a miscast Sam Rockwell - it works well...enough
The British Comedy/Murder Mystery SEE HOW THEY RUN came and went in movie theaters (at least in the U.S.) pretty quickly last fall and, consequently, most folks missed that this was even a thing.
The good news is that it is now streaming on multiple streaming services so as people gather for the Holidays there is a fun, family friendly (but good for adults) film that young and old alike could gather around the TV to watch together.
Written by Mark Chappell and Directed by Tom George (both of whom who have quite a few BBC TV Series under their belts, but it looks like this is the Major Motion Picture debut for them both), SEE HOW THEY RUN is a comedic look at the British Murder Mystery with a frumpy detective, a victim who “deserved it” and a plethora of potential suspects who are all brought into a room by the Detective on a “dark and stormy” night to reveal “whodunnit”.
Normally, with these types of films, it comes down to the casting and while there are some very good - and fun - actors in many of the roles, one of the roles is terribly miscast and that brings down the quality of this film quite a bit.
So, let’s start with what works - the central murder mystery is clever…enough…(for this sort of thing) and is wonderfully constructed around the London Stage debut of the long-running Agatha Christie murder mystery play THE MOUSETRAP in the 1950’s and, thus, this film is a period piece and that atmosphere adds - in a positive way - to the look and feel of this movie.
Saoirse Ronan, as always, is very good as the young Policewoman who is brought in to aide the main detective and proves out to be quite the Detective herself. She really holds this film together tightly in the middle. Adrien Brody, Ruth Wilson, David Oyelowo and Harris Dickinson all bring something to the film in their characters (and suspects) that add color and life to the central mystery.
Unfortunately, the usually good Sam Rockwell is miscast as the lead sleuth on this case. His frumpy, disheveled Detective was reminiscent of Columbo and just didn’t fit in this British Murder Mystery. While this performance is not a distraction to this film, it doesn’t elevate or lift this movie either, and - in a murder mystery - the detective solving the mystery is a major cog in the movie machine and this cog just isn’t that interesting.
Rockwell is not helped by a green Director and Writer who are looking to make the leap from television to film and this film feels more like a made for TV film, than a major motion picture.
Which is why this film is a good one to catch on one of the streaming services it is currently on. It is a fun enough film that will entertain young and old alike over the Holidays.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
The good news is that it is now streaming on multiple streaming services so as people gather for the Holidays there is a fun, family friendly (but good for adults) film that young and old alike could gather around the TV to watch together.
Written by Mark Chappell and Directed by Tom George (both of whom who have quite a few BBC TV Series under their belts, but it looks like this is the Major Motion Picture debut for them both), SEE HOW THEY RUN is a comedic look at the British Murder Mystery with a frumpy detective, a victim who “deserved it” and a plethora of potential suspects who are all brought into a room by the Detective on a “dark and stormy” night to reveal “whodunnit”.
Normally, with these types of films, it comes down to the casting and while there are some very good - and fun - actors in many of the roles, one of the roles is terribly miscast and that brings down the quality of this film quite a bit.
So, let’s start with what works - the central murder mystery is clever…enough…(for this sort of thing) and is wonderfully constructed around the London Stage debut of the long-running Agatha Christie murder mystery play THE MOUSETRAP in the 1950’s and, thus, this film is a period piece and that atmosphere adds - in a positive way - to the look and feel of this movie.
Saoirse Ronan, as always, is very good as the young Policewoman who is brought in to aide the main detective and proves out to be quite the Detective herself. She really holds this film together tightly in the middle. Adrien Brody, Ruth Wilson, David Oyelowo and Harris Dickinson all bring something to the film in their characters (and suspects) that add color and life to the central mystery.
Unfortunately, the usually good Sam Rockwell is miscast as the lead sleuth on this case. His frumpy, disheveled Detective was reminiscent of Columbo and just didn’t fit in this British Murder Mystery. While this performance is not a distraction to this film, it doesn’t elevate or lift this movie either, and - in a murder mystery - the detective solving the mystery is a major cog in the movie machine and this cog just isn’t that interesting.
Rockwell is not helped by a green Director and Writer who are looking to make the leap from television to film and this film feels more like a made for TV film, than a major motion picture.
Which is why this film is a good one to catch on one of the streaming services it is currently on. It is a fun enough film that will entertain young and old alike over the Holidays.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)