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Chuck Klosterman recommended House of Games (1987) in Movies (curated)
Matthew Krueger (10051 KP) rated Dawn of the Dead (1978) in Movies
Jul 18, 2019
Zombies Run The Mall
Contains spoilers, click to show
Dawn of the Dead- is the second movie in the living dead franchise directed by horror icon George A. Ramero.
The plot: As hordes of zombies swarm over the U.S., the terrified populace tries everything in their power to escape the attack of the undead, but neither cities nor the countryside prove safe. In Pennsylvania, radio-station employee Stephen (David Emge) and his girlfriend, Francine (Gaylen Ross), escape in the station helicopter, accompanied by two renegade SWAT members, Roger and Pete. The group retreats to the haven of an enclosed shopping center to make what could be humanity's last stand.
On the way these surviors to encourter a bike gang that raids the mall and some how the survivor have to survivor the bike gang without getting killed.
You really get to care about these charaters, because you are with them, you are one of them, you fell like your apart of them and trying to survivor the zombies.
This movie is 2h and 30mins long but that is the perfect amont of time, for this zombie epic.
A must see horror movie, a must see zombie survival movie and george a ramero director it.
The plot: As hordes of zombies swarm over the U.S., the terrified populace tries everything in their power to escape the attack of the undead, but neither cities nor the countryside prove safe. In Pennsylvania, radio-station employee Stephen (David Emge) and his girlfriend, Francine (Gaylen Ross), escape in the station helicopter, accompanied by two renegade SWAT members, Roger and Pete. The group retreats to the haven of an enclosed shopping center to make what could be humanity's last stand.
On the way these surviors to encourter a bike gang that raids the mall and some how the survivor have to survivor the bike gang without getting killed.
You really get to care about these charaters, because you are with them, you are one of them, you fell like your apart of them and trying to survivor the zombies.
This movie is 2h and 30mins long but that is the perfect amont of time, for this zombie epic.
A must see horror movie, a must see zombie survival movie and george a ramero director it.
Charlie Cobra Reviews (1840 KP) rated Black Widow (2021) in Movies
Sep 6, 2021
Good casting, Scarlett and Florence felt like actual sisters. (1 more)
Good chemistry and acting from David Harbour and Rachel Weisz.
Not much of a thriller or thinker for a spy movie. (1 more)
One actor was greatly wasted in their role.
Scarlett's Swan Song Had Plenty of Action With A Decent StoryNatasha Romanoff (Scarlett Johansson) and her sister Yelena (Florence Pugh) are living what seems like a normal life in 1995 Ohio, with their parents, mother, Melina Vostokoff (Rachel Weisz) and
Natasha Romanoff (Scarlett Johansson) and her sister Yelena (Florence Pugh) are living what seems like a normal life in 1995 Ohio, with their parents, mother, Melina Vostokoff (Rachel Weisz) and father, Alexei Shostakov (David Harbour) when suddenly they must leave the country. They are all Russian undercover agents and Alexei, the super-soldier known as Red Guardian, has stolen intel from S.H.I.E.L.D. They flee to Cuba where the sisters are forcibly taken to the "Red Room" for training after they've met General Dreykov (Ray Winstone), their boss. Now in 2016 after the events of Captain America: Civil War, Natasha finds herself a fugitive on the run from U.S. Secretary of State Thaddeus Ross (William Hurt) after violating the Sokovia Accords. She's attacked by an incredibly skilled assassin called the Taskmaster and finds that she's not his target but rather a package she had with her. After learning the package originated from Budapest she heads there where she finds her sister Yelena and learns of a plot that not only jeopardizes the safety of those trained in the "Red Room" but possibly the whole world.
This movie was really good and it was great to see a Marvel movie again. I didn't see this one in theaters but I still enjoyed watching it in the safety of my home with my family. So this movie came off like a really good spy/action movie but definitely had that Marvel feel to it. It really felt like watching something out of the Bourne or Bond series films but with admittedly less plot and gadgets, but the action was really spot on. There was awesome car chase scenes and expertly crafted fight choreography too. It was even reported that they went through 13 BMW X3's for the car chase scene with Scarlett and Florence so you can tell that they really wanted to get things right and had a vision of what they wanted the audience to see for that particular scene as well. I thought there was really great chemistry from all the actors together and that it was pretty good casting. Scarlett and Florence argue throughout the film just like real sisters, and the looks that David Harbour and Rachel Weisz exchange feel like they were genuinely together. The opening scene of the movie had great acting and was very emotional. I just feel like one role/actor was kind of a bad casting and/or was greatly underutilized. I think the biggest flaw of the move was that for being a spy movie, the plot never had any mystery to it and everything was kind of predictable or at least very easy to follow. Not much of a thriller or thinker where you had to put two and two together. The cinematography was spot on and felt like you were watching any big budget spy or action movie and on par with what you expect from Marvel Studios. The tone fit the film for the most part but kind of "see-saw"-ed from time to time as they mixed serious themes with comedic dialogue throughout. But that's to be expected from a PG-13 action/spy movie from Marvel and it was a little reminiscent of the film Captain America in that regard. The music was good and there were a couple of songs that stuck out in that regard American Pie by Don Mclean and a cover of Smells Like Teen Spirit by Think Up Anger; also Cheap Thrills by Sia. The musical score was also good and the Black Widow theme was pretty epic but also with hints of melancholy to it that seemed to underline both her tragic background as well as the tragedy of the events to come in her future. Altogether the movie was really good and I give it a 7/10. If you are big time into the MCU and Marvel franchise movies then this is a must see film but if not then it might come off as just a barely above average action/spy film so that's why it doesn't get my "Must See Seal of Approval"
This movie was really good and it was great to see a Marvel movie again. I didn't see this one in theaters but I still enjoyed watching it in the safety of my home with my family. So this movie came off like a really good spy/action movie but definitely had that Marvel feel to it. It really felt like watching something out of the Bourne or Bond series films but with admittedly less plot and gadgets, but the action was really spot on. There was awesome car chase scenes and expertly crafted fight choreography too. It was even reported that they went through 13 BMW X3's for the car chase scene with Scarlett and Florence so you can tell that they really wanted to get things right and had a vision of what they wanted the audience to see for that particular scene as well. I thought there was really great chemistry from all the actors together and that it was pretty good casting. Scarlett and Florence argue throughout the film just like real sisters, and the looks that David Harbour and Rachel Weisz exchange feel like they were genuinely together. The opening scene of the movie had great acting and was very emotional. I just feel like one role/actor was kind of a bad casting and/or was greatly underutilized. I think the biggest flaw of the move was that for being a spy movie, the plot never had any mystery to it and everything was kind of predictable or at least very easy to follow. Not much of a thriller or thinker where you had to put two and two together. The cinematography was spot on and felt like you were watching any big budget spy or action movie and on par with what you expect from Marvel Studios. The tone fit the film for the most part but kind of "see-saw"-ed from time to time as they mixed serious themes with comedic dialogue throughout. But that's to be expected from a PG-13 action/spy movie from Marvel and it was a little reminiscent of the film Captain America in that regard. The music was good and there were a couple of songs that stuck out in that regard American Pie by Don Mclean and a cover of Smells Like Teen Spirit by Think Up Anger; also Cheap Thrills by Sia. The musical score was also good and the Black Widow theme was pretty epic but also with hints of melancholy to it that seemed to underline both her tragic background as well as the tragedy of the events to come in her future. Altogether the movie was really good and I give it a 7/10. If you are big time into the MCU and Marvel franchise movies then this is a must see film but if not then it might come off as just a barely above average action/spy film so that's why it doesn't get my "Must See Seal of Approval"
Gareth von Kallenbach (965 KP) rated Ocean’s 8 (2018) in Movies
Jul 8, 2019
For the last five plus years all Debbie Ocean (Sandra Bullock) has had to think about was how to steal a $150 million dollar necklace of the neck of a mark during the Met Gala. Why she had all that time to think about was because she was incarcerated. The plan is flawless on paper but it would have to be to pull off this caper at one of the most high profile events of the year. Meticulously thought out and every eventuality covered. Now all she needs is a crew to make it happen. She gets her right hand girl Lou (Cate Blanchett) and they set out to plan the heist. The start with getting down on her luck designer Rose Weil (Helena Bonham Carter), who must persuade the mark, socialite actress Daphne Kluger (Anne Hathaway), to wear her dress and the diamonds to the even. Then let add a fence, Tammy (Sarah Paulson), a pick-pocket, Constance (Awkwafina), diamond expert, Amita (Mindy Kaling), and a hacker, Nine Ball (Rihanna), everyone they need to make this plan happen. The plan is made, the crew is assembled and the Met Ball is days away and all they have to do is rob a highly protected necklace in a museum filled with people and more cameras than you can count.
David Ross (Pleasantville, Seabiscuit) wrote and directed the most recent film in the Ocean’s storyline. It definitely is in the same mold of the male dominated Ocean’s trilogy of films. There are even cameos from the old crew and the direct link of the main character being the sister of the protagonist of those films really ties them together. There are several nods to the original films and even the music and cinematography match up pretty well. At times I would say that it tries too hard to be like those films.
The cast does a great job. The character development is really good and if successful could definitely lead to follow up films. Awkwafina, who I had not heard of before going into this film, was a real bright spot and stood out in the scenes she was in. James Corden, as insurance investigator John Frazier, was also fun. The flow and pace of the film really went along well. There were definitely fun moments, also some moments that were a little cheesy, which are to be expected. Also to be expected in heist movie are some twist and turns, which this film delivers on. It keeps you guessing until the end.
Overall this was a fun movie going experience but maybe on I would be more likely to rent than see on the big screen.
David Ross (Pleasantville, Seabiscuit) wrote and directed the most recent film in the Ocean’s storyline. It definitely is in the same mold of the male dominated Ocean’s trilogy of films. There are even cameos from the old crew and the direct link of the main character being the sister of the protagonist of those films really ties them together. There are several nods to the original films and even the music and cinematography match up pretty well. At times I would say that it tries too hard to be like those films.
The cast does a great job. The character development is really good and if successful could definitely lead to follow up films. Awkwafina, who I had not heard of before going into this film, was a real bright spot and stood out in the scenes she was in. James Corden, as insurance investigator John Frazier, was also fun. The flow and pace of the film really went along well. There were definitely fun moments, also some moments that were a little cheesy, which are to be expected. Also to be expected in heist movie are some twist and turns, which this film delivers on. It keeps you guessing until the end.
Overall this was a fun movie going experience but maybe on I would be more likely to rent than see on the big screen.
Darren (1599 KP) rated The Island at the Top of the World (1974) in Movies
Sep 13, 2019
Characters – Professor Ivarsson is an expert on culture and language, he is almost forced into going on this expedition, where he gets to show off all the skills he has, while being wowed by the new location they find. Sir Anthony Ross has put together the expedition in hopes of finding his son, who has been missing for two years. He has always used his position of power and money to get what he wants and must learn to let his son live his own life. Captain Brieux is the captain of the zeppelin, he might have his own style which does clash with Anthony’s but he will take the risks others would consider. Oomiak is a local guide that is known as the most fearless in the land, he is the generic local figure that understands weak English.
Performances – The performances for the most part do feel very British, while that might be what the film was targeting, it does have a lot of, the idea that these people are better than anyone else, Donald Sinden is the highlight of this because he will get laughs from just how over the top he actually is in the performance. David Hartman doesn’t show that much charisma which might have made his character more interesting. Jacques Marin get laughs with his role, while Mako gets the laughs, he is capable of something much more entertaining.
Story – The story here follows four explorers that go in search of a mysterious island in the Artic, this will take people from different backgrounds to an unknown location with an unknown threat which they must survive. The story does feel like it is just another version of ‘Journey to the Centre of the Earth’ or ‘The Lost World’ which can be entertaining to watch, but they aren’t the most challenging of films to watch once you have seen a few. This story does feel tamer, while trying to bring a more realistic balance with the threat being Vikings, which could work with the number of tribes around the world that don’t want human contact. The story does rely on how the visuals of the settings look with most of the running scenes which just takes more away from the story’s impact on us.
Adventure/Fantasy/Sci-Fi – The adventure side of the film is searching for a new world, this is always going to be appealing and once we see the new world, we are left with our jaw dropped at how beautiful it is. The fantasy sci-fi elements mix together as they show how a community of people could have survived in an isolated location away from the world for so long.
Settings – The film does rely heavily on the settings which do look wonderful, we have the open ice location before we hit the land which is a thing of beauty, even if certain parts involving peril could have looked even more threatening.
Scene of the Movie – The escape.
That Moment That Annoyed Me – The dated special effects.
Final Thoughts – This is one of the most British attempts at a brand-new adventure idea, it is filled with stunning locations which only end up leaving us feeling like we have seen this all before.
Overall: The Brits will lead the way.
Performances – The performances for the most part do feel very British, while that might be what the film was targeting, it does have a lot of, the idea that these people are better than anyone else, Donald Sinden is the highlight of this because he will get laughs from just how over the top he actually is in the performance. David Hartman doesn’t show that much charisma which might have made his character more interesting. Jacques Marin get laughs with his role, while Mako gets the laughs, he is capable of something much more entertaining.
Story – The story here follows four explorers that go in search of a mysterious island in the Artic, this will take people from different backgrounds to an unknown location with an unknown threat which they must survive. The story does feel like it is just another version of ‘Journey to the Centre of the Earth’ or ‘The Lost World’ which can be entertaining to watch, but they aren’t the most challenging of films to watch once you have seen a few. This story does feel tamer, while trying to bring a more realistic balance with the threat being Vikings, which could work with the number of tribes around the world that don’t want human contact. The story does rely on how the visuals of the settings look with most of the running scenes which just takes more away from the story’s impact on us.
Adventure/Fantasy/Sci-Fi – The adventure side of the film is searching for a new world, this is always going to be appealing and once we see the new world, we are left with our jaw dropped at how beautiful it is. The fantasy sci-fi elements mix together as they show how a community of people could have survived in an isolated location away from the world for so long.
Settings – The film does rely heavily on the settings which do look wonderful, we have the open ice location before we hit the land which is a thing of beauty, even if certain parts involving peril could have looked even more threatening.
Scene of the Movie – The escape.
That Moment That Annoyed Me – The dated special effects.
Final Thoughts – This is one of the most British attempts at a brand-new adventure idea, it is filled with stunning locations which only end up leaving us feeling like we have seen this all before.
Overall: The Brits will lead the way.
Chris Sawin (602 KP) rated Black Widow (2021) in Movies
Oct 6, 2021
Florence Pugh (2 more)
The free-fall sequence at the end.
Taskmaster before the mask comes off.
It's way too long. (3 more)
The Taskmaster changes are weak.
It's as if the characters are fighting over who gets to be the comedic relief.
Familiar storyline.
Espionage Exhaustion
Black Widow is a film explaining what Natasha Romanoff (Scarlett Johansson) was up to in-between Captain America: Civil War and Avengers: Infinity War. The film was originally set to be released in May of 2020, but was pushed back and had three different release dates thanks to COVID-19. Unfortunately, most completed films that sit on the shelf and are in limbo for over a year rarely live up to the anticipation. Black Widow is worthwhile for a few key action sequences and notable characters that steal the spotlight, but is otherwise a mostly forgettable superhero film.
Marketed as a superhero film, Black Widow is also a spy thriller. Johansson has stated that films such as Logan, Harrison Ford’s The Fugitive, and Terminator 2: Judgment Day were influences. After Civil War, Thaddeus Ross (William Hurt) is on the hunt for Natasha Romanoff. Women like Natasha who have had similar training in a torturous training facility known as The Red Room are victims to brainwashing by a man named Dreykov (Ray Winstone), but a serum ends up in Natasha’s hands that can break Dreykov’s brainwashing. Natasha begins searching for The Red Room and Dreykov, which also has her crossing paths with other spies that posed as her family members; her “sister” Yelena Belova (Florence Pugh), her “father” Alexai Shostakov (David Harbour), and her “mother” Melina Vostokoff (Rachel Weisz).
The biggest selling point for Black Widow is that it’s a mostly female cast in front of and behind the camera. The film is directed by Cate Shortland and Black Widow is her first big budget feature. It’s also co-written by female screenwriter Jac Schaeffer (uncredited co-screenwriter of Captain Marvel) and Ned Benson (director of The Disappearance of Eleanor Rigby).
Taskmaster is cool in the film until you realize the character has been altered from his comic book origins. This isn’t uncommon in the MCU or even other live-action superhero adaptations, but what the character has become in the film will be received with mixed results. In the comics, Taskmaster’s real identity is Anthony Masters and he’s a mercenary not unlike Deadpool (the two have fought together and against each other). Copying fighting styles and weapon techniques is similar to the film, but it’s all thanks to his incredible memory and photographic reflexes.
The character is altered to fit the story in the Black Widow film. It’s not necessarily a bad thing as it gives a bigger purpose for the character since it suddenly becomes a major part of Natasha’s storyline, but how the character evolves over the course of the film seems to almost relieve Natasha of her past sins rather than continue to serve as a catalyst. Taskmaster is generally involved in some of the best hand-to-hand combat sequences, but seems to be left hanging by the end of the film. We could see the character again, but whether or not the desire is there to see Taskmaster return is debatable.
The free-fall sequence that has been teased in the trailers is Black Widow’s most unique source of action. There’s exploding elements and falling debris, Natasha trying to save someone’s life, and Taskmaster thrown in attempting to mess up whatever she has planned; plus a bunch of goons bringing up the rear that will obviously be taken out in peak fashion. The sequence is like a duel to the death taking place on the edge of a volcano that’s about to erupt. It’s on the verge of being overkill, but is just awesome enough to trigger all of the adrenaline in your body.
Kevin Feige apparently wanted an equal amount of screen time for both Natasha and Yelena. With the after-credits sequence, Natasha being very dead after the events of Infinity War, and the reports that Yelena may be the new Black Widow, she’s essentially the star of the film and for good reason. The character begins as an individual with a chip on her shoulder from someone from her past, but Florence Pugh is able to add humor and empathy with her performance. Yelena has the best one-liners in the film (“That would be a cool way to die,”) and is essentially the best source of comedic relief (i.e. her hysterectomy rant), as well. She is the one character in the film you’d want to see more of after Black Widow ends.
The storyline of Black Widow doesn’t feel like anything you haven’t experienced cinematically before, especially within the confines of the MCU. An evil man is responsible for pulling the strings of a bunch of women that would kick his ass otherwise. Unfortunately, Ray Winstone doesn’t feel all that intimidating as Dreykov since he doesn’t do much besides talk in Black Widow. The point is made in the film that is all there’s really needed of the character, but Dreykov’s biggest weapon is his mouth. However, his verbal skills don’t seem advantageous enough to make him such a threat let alone keep him alive for over 20 years.
It also feels like every MCU film has its on-screen characters competing over who can get the most laughs; this is something that only got worse after Thor: Ragnarok proved to be a success. Marvel films are already so formulaic with most villains being introduced and killed within the confines of a single film. Natasha’s spy family all feel like minor extensions of herself. Rachel Weisz, despite not aging a day in nearly 30 years, is forgettable as Melina. David Harbour is essentially his character from Stranger things cosplaying as Mr. Incredible with a Russian accent. Even Florence Pugh’s Yelena Belova character is basically a blonde younger version of Natasha even though they’re not related by blood.
Black Widow clocks in at over two hours and it feels like a film that could have been edited down. Witnessing the events of a dysfunctional spy family who then spend good chunks of the film reminiscing about those moments the audience has already seen is redundant storytelling that feels like nothing more than filler.
Black Widow is worth seeing for Florence Pugh, the free-fall action sequence, and anything involving Taskmaster before it’s revealed who is under the mask. Everything else about Black Widow feels like it was done better by the films it was supposedly influenced by and mostly feels like a diluted imitation of Captain America: The Winter Soldier. It’s fantastic that women are getting more opportunities in big summer blockbusters like this one, but it’s also disheartening since their filmmaking skills are shackled to formulaic superfluity that obviously stands in the way of creating extraordinary cinema.
Marketed as a superhero film, Black Widow is also a spy thriller. Johansson has stated that films such as Logan, Harrison Ford’s The Fugitive, and Terminator 2: Judgment Day were influences. After Civil War, Thaddeus Ross (William Hurt) is on the hunt for Natasha Romanoff. Women like Natasha who have had similar training in a torturous training facility known as The Red Room are victims to brainwashing by a man named Dreykov (Ray Winstone), but a serum ends up in Natasha’s hands that can break Dreykov’s brainwashing. Natasha begins searching for The Red Room and Dreykov, which also has her crossing paths with other spies that posed as her family members; her “sister” Yelena Belova (Florence Pugh), her “father” Alexai Shostakov (David Harbour), and her “mother” Melina Vostokoff (Rachel Weisz).
The biggest selling point for Black Widow is that it’s a mostly female cast in front of and behind the camera. The film is directed by Cate Shortland and Black Widow is her first big budget feature. It’s also co-written by female screenwriter Jac Schaeffer (uncredited co-screenwriter of Captain Marvel) and Ned Benson (director of The Disappearance of Eleanor Rigby).
Taskmaster is cool in the film until you realize the character has been altered from his comic book origins. This isn’t uncommon in the MCU or even other live-action superhero adaptations, but what the character has become in the film will be received with mixed results. In the comics, Taskmaster’s real identity is Anthony Masters and he’s a mercenary not unlike Deadpool (the two have fought together and against each other). Copying fighting styles and weapon techniques is similar to the film, but it’s all thanks to his incredible memory and photographic reflexes.
The character is altered to fit the story in the Black Widow film. It’s not necessarily a bad thing as it gives a bigger purpose for the character since it suddenly becomes a major part of Natasha’s storyline, but how the character evolves over the course of the film seems to almost relieve Natasha of her past sins rather than continue to serve as a catalyst. Taskmaster is generally involved in some of the best hand-to-hand combat sequences, but seems to be left hanging by the end of the film. We could see the character again, but whether or not the desire is there to see Taskmaster return is debatable.
The free-fall sequence that has been teased in the trailers is Black Widow’s most unique source of action. There’s exploding elements and falling debris, Natasha trying to save someone’s life, and Taskmaster thrown in attempting to mess up whatever she has planned; plus a bunch of goons bringing up the rear that will obviously be taken out in peak fashion. The sequence is like a duel to the death taking place on the edge of a volcano that’s about to erupt. It’s on the verge of being overkill, but is just awesome enough to trigger all of the adrenaline in your body.
Kevin Feige apparently wanted an equal amount of screen time for both Natasha and Yelena. With the after-credits sequence, Natasha being very dead after the events of Infinity War, and the reports that Yelena may be the new Black Widow, she’s essentially the star of the film and for good reason. The character begins as an individual with a chip on her shoulder from someone from her past, but Florence Pugh is able to add humor and empathy with her performance. Yelena has the best one-liners in the film (“That would be a cool way to die,”) and is essentially the best source of comedic relief (i.e. her hysterectomy rant), as well. She is the one character in the film you’d want to see more of after Black Widow ends.
The storyline of Black Widow doesn’t feel like anything you haven’t experienced cinematically before, especially within the confines of the MCU. An evil man is responsible for pulling the strings of a bunch of women that would kick his ass otherwise. Unfortunately, Ray Winstone doesn’t feel all that intimidating as Dreykov since he doesn’t do much besides talk in Black Widow. The point is made in the film that is all there’s really needed of the character, but Dreykov’s biggest weapon is his mouth. However, his verbal skills don’t seem advantageous enough to make him such a threat let alone keep him alive for over 20 years.
It also feels like every MCU film has its on-screen characters competing over who can get the most laughs; this is something that only got worse after Thor: Ragnarok proved to be a success. Marvel films are already so formulaic with most villains being introduced and killed within the confines of a single film. Natasha’s spy family all feel like minor extensions of herself. Rachel Weisz, despite not aging a day in nearly 30 years, is forgettable as Melina. David Harbour is essentially his character from Stranger things cosplaying as Mr. Incredible with a Russian accent. Even Florence Pugh’s Yelena Belova character is basically a blonde younger version of Natasha even though they’re not related by blood.
Black Widow clocks in at over two hours and it feels like a film that could have been edited down. Witnessing the events of a dysfunctional spy family who then spend good chunks of the film reminiscing about those moments the audience has already seen is redundant storytelling that feels like nothing more than filler.
Black Widow is worth seeing for Florence Pugh, the free-fall action sequence, and anything involving Taskmaster before it’s revealed who is under the mask. Everything else about Black Widow feels like it was done better by the films it was supposedly influenced by and mostly feels like a diluted imitation of Captain America: The Winter Soldier. It’s fantastic that women are getting more opportunities in big summer blockbusters like this one, but it’s also disheartening since their filmmaking skills are shackled to formulaic superfluity that obviously stands in the way of creating extraordinary cinema.
Bob Mann (459 KP) rated Mank (2020) in Movies
Dec 10, 2020
Cinematography - glorious to look at (1 more)
A fabulous ensemble cast, with Oldham, Seyfried, Arliss and Dance excelling
"Mank" is a biopic slice of the career of Herman Jacob Mankiewicz (Gary Oldman), the Hollywood screenwriter who was the pen behind what is regularly voted by critics as being the greatest movie of all time - "Citizen Kane". "Citizen Kane" was written in 1940 (and released the following year) and much of the action in "Mank" takes place in a retreat in the Mojave desert when Mank, crippled by a full-cast on the leg, has been 'sent' by Orson Welles (Tom Burke) to complete the screenplay without alcohol and other worldly distractions. Helping administer to his writing and care needs are English typist Rita Alexander (Lily Collins) and carer Fraulein Freda (Monika Gossmann). However, although Mank produces brilliant stuff, his speed of progress exasperates his 'minder' and editor John Houseman (Sam Troughton). (Yes, THAT John Houseman, the actor.)
In developing the story, we continuously flash-back six years - - nicely indicated by typed 'script notes' - - to 1934 where Mank is working at MGM studios for Louis B. Mayer (Arliss Howard) and mixing in the circles of millionaire publisher William Randolph Hearst (Charles Dance) and his glamorous young wife, actress Marion Davies (Amanda Seyfried). Allegedly, the "Citizen Kane" script was based on Hearst. But what souring of the relationship could have led to such a stinging betrayal during those six years?
Mank has an embarrassment of acting riches. Mankiewicz is a fascinating character: charismatic, reckless, passionate and the definition of a loose cannon. Basically, a dream for a great actor to portray. And Gary Oldham IS a great actor. After doing Churchill in "Darkest Hour", he here turns in a magnificent performance as the alcoholic writer. Never more so than in a furious tirade at a dinner table late in the film, which will likely be the equivalent to the Churchill "tiger" speech come Oscar time. Surely, there's a Best Actor nomination there?
Equally impressive though are some of the supporting cast.
- Tom Burke - so good as TV's "Strike" - gives a fine impersonation of the great Orson Welles: full of confidence and swagger. It's only a cameo role, but he genuinely 'feels' like the young Welles.
- Amanda Seyfried: It took me almost half of the film to recognize her as Marion Davies, and her performance is pitch perfect - the best of her career in my view, and again Oscar-worthy.
- Arliss Howard for me almost steals the show as the megalomaniac Mayer: his introduction to Mank's brother Joe (Tom Pelphrey) has a memorable "walk with me" walkthrough of the studio with Mayer preaching on the real meaning of MGM and the movies in general. Breathtakingly good.
- But - I said "nearly steals the show".... the guy who made off with it in a swag-bag for me was our own Charles Dance as Hearst. Quietly impressive throughout, he just completely nails it with his "organ-grinder's monkey" speech towards the end of the movie. Probably my favourite monologue of 2020. Chilling. I'd really like to see Dance get a Supporting Actor nomination for this.
The screenplay was originally written by director David Fincher's late father Jack. Jack Fincher died in 2002, and this project has literally been decades in the planning. Mankiewicz has a caustic turn of phrase, and there are laugh-out lines of dialogue scattered throughout the script. "Write hard, aim low" implores Houseman at one point. And my personal favourite: Mank's puncturing of the irony that the Screen Writers Guild has been formed without an apostrophe! A huge LOL!
Aside from the witty dialogue, the script has a nuance to the storytelling that continually surprises. A revelation from Freda about Mank's philanthropic tendencies brings you up short in your face-value impression of his character. And the drivers that engineer the rift between Mankiewicz and Hearst - based around the story of the (fictional) director Shelly Metcalf (Jamie McShane) - are not slapped in your face, but elegantly slipped into your subconscious.
In addition, certain aspects are frustratingly withheld from you. Mank's long-suffering wife (a definition of the phrase) Sara (Tuppence Middleton) only occasionally comes into focus. The only reference to his kids are a crash in the background as they "remodel" the family home. Is the charismatic Mank a faithful husband or a philanderer? Is the relationship with Rita Alexander just professional and platonic (you assume so), or is there more going on? There's a tension there in the storytelling that never quite gets resolved: and that's a good thing.
Mank also has an embarrassment of technical riches. Even from the opening titles, you get the impression that this is a work of genius. All in black and white, and with the appearance of 40's titling, they scroll majestically in the sky and then - after "Charles Dance" - effortlessly scroll down to the desert highway. It's evidence of an attention to detail perhaps forced by lockdown. ("MUM - I'm bored". "Go up to your room and do some more work on that movie then".)
It's deliciously modern, yet retro. I love the fact that the cross-reel "circle" cue-marks appear so prominently... the indicators that the projectionist needs to spin up the next reel. I think they are still used in most modern films, but not as noticeably as in the old films... and this one!
A key contributor to the movie is cinematographer Erik Messerschmidt. Everything looks just BEAUTIFUL, and it is now a big regret that I didn't go to watch this on the big screen after all. Surely there will be a cinematography Oscar nomination for this one. Unbelievably, this is Messerschmidt's debut feature as director of cinematography!
Elsewhere, you can imagine multiple other technical Oscar noms. The tight and effective editing is by Kirk Baxter. And the combination of the glorious production design (Donald Graham Burt) and the costume design (Trish Summerville) make the movie emanate the same nostalgia for Hollywood as did last year's "Once Upon a Time... In Hollywood".... albeit set forty years earlier. Even the music (by the regular team of Trent Reznor and Atticus Ross) might get nominated, since I had to go back and check that it actually HAD music at all: it's subtly unobtrusive and effective.
The only area I had any issue with here was the sound mixing, since I had trouble picking up some of the dialogue.
Although I can gush about this movie as a technical work of art, I'm going to hold off a 10* review on this one. For one reason only. I just didn't feel 100% engaged with the story (at least with a first watch). The illustrious Mrs Movie Man summed it up with the phrase "I just didn't care enough what happened to any of the characters". I think though that this one is sufficiently subtle and cerebral that it deserves another watch.
Will it win Oscars. Yes, for sure. Hell, I would like to put a bet on that "Mank" will top the list of the "most nominations" when they are announced. (Hollywood likes nothing more than a navel-gazing look at its history of course). And an obvious nomination here will be David Fincher for Best Director. But, for me, this falls into a similar bucket as that other black and white multi-Oscar winner of two year's ago "Roma". It's glorious to look at; brilliantly directed; but not a movie I would choose to readily reach for to repeatedly watch again.
(For the full graphical review, please check out the review here - https://bob-the-movie-man.com/2020/12/10/mank-divines-for-oscar-gold-in-a-sea-of-pyrites/. Thanks.)
In developing the story, we continuously flash-back six years - - nicely indicated by typed 'script notes' - - to 1934 where Mank is working at MGM studios for Louis B. Mayer (Arliss Howard) and mixing in the circles of millionaire publisher William Randolph Hearst (Charles Dance) and his glamorous young wife, actress Marion Davies (Amanda Seyfried). Allegedly, the "Citizen Kane" script was based on Hearst. But what souring of the relationship could have led to such a stinging betrayal during those six years?
Mank has an embarrassment of acting riches. Mankiewicz is a fascinating character: charismatic, reckless, passionate and the definition of a loose cannon. Basically, a dream for a great actor to portray. And Gary Oldham IS a great actor. After doing Churchill in "Darkest Hour", he here turns in a magnificent performance as the alcoholic writer. Never more so than in a furious tirade at a dinner table late in the film, which will likely be the equivalent to the Churchill "tiger" speech come Oscar time. Surely, there's a Best Actor nomination there?
Equally impressive though are some of the supporting cast.
- Tom Burke - so good as TV's "Strike" - gives a fine impersonation of the great Orson Welles: full of confidence and swagger. It's only a cameo role, but he genuinely 'feels' like the young Welles.
- Amanda Seyfried: It took me almost half of the film to recognize her as Marion Davies, and her performance is pitch perfect - the best of her career in my view, and again Oscar-worthy.
- Arliss Howard for me almost steals the show as the megalomaniac Mayer: his introduction to Mank's brother Joe (Tom Pelphrey) has a memorable "walk with me" walkthrough of the studio with Mayer preaching on the real meaning of MGM and the movies in general. Breathtakingly good.
- But - I said "nearly steals the show".... the guy who made off with it in a swag-bag for me was our own Charles Dance as Hearst. Quietly impressive throughout, he just completely nails it with his "organ-grinder's monkey" speech towards the end of the movie. Probably my favourite monologue of 2020. Chilling. I'd really like to see Dance get a Supporting Actor nomination for this.
The screenplay was originally written by director David Fincher's late father Jack. Jack Fincher died in 2002, and this project has literally been decades in the planning. Mankiewicz has a caustic turn of phrase, and there are laugh-out lines of dialogue scattered throughout the script. "Write hard, aim low" implores Houseman at one point. And my personal favourite: Mank's puncturing of the irony that the Screen Writers Guild has been formed without an apostrophe! A huge LOL!
Aside from the witty dialogue, the script has a nuance to the storytelling that continually surprises. A revelation from Freda about Mank's philanthropic tendencies brings you up short in your face-value impression of his character. And the drivers that engineer the rift between Mankiewicz and Hearst - based around the story of the (fictional) director Shelly Metcalf (Jamie McShane) - are not slapped in your face, but elegantly slipped into your subconscious.
In addition, certain aspects are frustratingly withheld from you. Mank's long-suffering wife (a definition of the phrase) Sara (Tuppence Middleton) only occasionally comes into focus. The only reference to his kids are a crash in the background as they "remodel" the family home. Is the charismatic Mank a faithful husband or a philanderer? Is the relationship with Rita Alexander just professional and platonic (you assume so), or is there more going on? There's a tension there in the storytelling that never quite gets resolved: and that's a good thing.
Mank also has an embarrassment of technical riches. Even from the opening titles, you get the impression that this is a work of genius. All in black and white, and with the appearance of 40's titling, they scroll majestically in the sky and then - after "Charles Dance" - effortlessly scroll down to the desert highway. It's evidence of an attention to detail perhaps forced by lockdown. ("MUM - I'm bored". "Go up to your room and do some more work on that movie then".)
It's deliciously modern, yet retro. I love the fact that the cross-reel "circle" cue-marks appear so prominently... the indicators that the projectionist needs to spin up the next reel. I think they are still used in most modern films, but not as noticeably as in the old films... and this one!
A key contributor to the movie is cinematographer Erik Messerschmidt. Everything looks just BEAUTIFUL, and it is now a big regret that I didn't go to watch this on the big screen after all. Surely there will be a cinematography Oscar nomination for this one. Unbelievably, this is Messerschmidt's debut feature as director of cinematography!
Elsewhere, you can imagine multiple other technical Oscar noms. The tight and effective editing is by Kirk Baxter. And the combination of the glorious production design (Donald Graham Burt) and the costume design (Trish Summerville) make the movie emanate the same nostalgia for Hollywood as did last year's "Once Upon a Time... In Hollywood".... albeit set forty years earlier. Even the music (by the regular team of Trent Reznor and Atticus Ross) might get nominated, since I had to go back and check that it actually HAD music at all: it's subtly unobtrusive and effective.
The only area I had any issue with here was the sound mixing, since I had trouble picking up some of the dialogue.
Although I can gush about this movie as a technical work of art, I'm going to hold off a 10* review on this one. For one reason only. I just didn't feel 100% engaged with the story (at least with a first watch). The illustrious Mrs Movie Man summed it up with the phrase "I just didn't care enough what happened to any of the characters". I think though that this one is sufficiently subtle and cerebral that it deserves another watch.
Will it win Oscars. Yes, for sure. Hell, I would like to put a bet on that "Mank" will top the list of the "most nominations" when they are announced. (Hollywood likes nothing more than a navel-gazing look at its history of course). And an obvious nomination here will be David Fincher for Best Director. But, for me, this falls into a similar bucket as that other black and white multi-Oscar winner of two year's ago "Roma". It's glorious to look at; brilliantly directed; but not a movie I would choose to readily reach for to repeatedly watch again.
(For the full graphical review, please check out the review here - https://bob-the-movie-man.com/2020/12/10/mank-divines-for-oscar-gold-in-a-sea-of-pyrites/. Thanks.)
Bob Mann (459 KP) rated Soul (2020) in Movies
Dec 30, 2020
Soul is Pixar at its most cerebral
In the last few days I've seen Pixar's latest animation - "Soul" - described by various reviewers as a cross between "Inside Out", "Coco", "La La Land" and "Whiplash". I'll add to that some older movies with more obvious parallels with the story: 1946's "A Matter of Life and Death" with David Niven; 1941's "Here Comes Mr Jordan" with Robert Montgomery and its 1978 remake - a personal favourite of mine - "Heaven Can Wait" with Warren Beatty. For these all tell the story of someone plucked from the world a tad too early.
In "Soul", Joe (Jamie Foxx) is a talented jazz pianist always dreaming of getting to be a big time session musician. He is stuck though in a worthwhile but unappreciated job as a high school music teacher. But his luck is - temporarily - about to change when an old successful student (nice touch) recommends him to provide backing to the fearsome jazz star Dorothea Williams (Angela Bassett).
Just as things seem to going his way, an open manhole cover has other ideas, and Joe falls to his 'death'. Feeling his soul has exited the world too early, and just before he gets his big shot, Joe's spirit struggles to return to the world with the help of reluctant soul/recruit "22" (Tina Fey).
Pete Docter seems to have done it again with "Soul". The man behind Pixar's hugely successful "Up" and "Inside Out" has the magic touch with these animated classics. He's had more than his share of Oscar success. (Although having gone straight to streaming on Disney+, does it qualify for the Oscars this year? Or have they relaxed the rules?) Assuming it is eligible, you'd be a brave man to bet against "Soul" winning Best Animated Feature this year.
For there are some sequences of this movie that are breathtakingly effective. The fall of Joe from the "stairway to the great beyond" to the pre-life domain (as shown in the trailer) is a masterpiece of graphic design. (And do I detect in there a tribute to the "stargate" in "2001: A Space Odyssey"?) What makes these sequences distinctive is not the afterlife soul's or the "great before" souls, who resemble blue variants of Casper. It's the 'counsellors' of the realms. They are surreally drawn Picasso-style in 2D and - although easy to draw for preschooler's with a crayon - might be a bit of a stretch for them to relate to.
But will the kids get it? I know that my 6-year old grandson enjoyed watching it. But ultimately, this is principally a Pixar film squarely targeted at adults to enjoy. Indeed, the themes of death and afterlife might be disturbing for younger children (as in "Coco"). They will certainly struggle to understand the land of lost souls, where those obsessed with their work or hobbies (metal detecting! LOL!) are almost beyond reach. And surely the message of 'enjoying the everyday here and now' rather than getting too wrapped up in career or life goals will only be relatable to adults.
"Soul" is brim-full with Pixar quirkiness. As per normal, the movie has a lot of detail that will need multiple watches. And I can confirm that the pause button helps! For example, "22" has been an earth-apprentice for so many millennia that he has had just about every mentor who's ever passed through. His 'den' is wallpapered with "Hello, My Name is ...." badges, and a pause at that point reveals mentors as varied as Gandhi, Aretha Franklin, Albert Einstein and Stephen Hawking! And in the end titles, the usual list of babies born during production are "Recent You Seminar graduates"!
The movie also features two of the most distinctive voices from UK television. Graham Norton plays Moonwind: a sign-spinning hippy and lost-soul-sea piratical captain (I've honestly not been taking drugs). And Richard Ayoade, a UK TV regular but familiar to US audiences from his role in "The IT Crowd", plays Counsellor Jerry (well, one of them!). Alice Braga, as another Counsellor Jerry and most recently seen as the doctor in "The New Mutants", is another familiar voice
For once, Michael Giacchino doesn't get the scoring gig. Instead, this went to the "Nine Inch Nails" partnership of Trent Reznor and Atticus Ross. (The soundtrack for "Mank" was their most recent work). The music is perhaps not as immediately accessible as some of the previous Pixar scores. But I think will be a 'grower'.
I have a "but" in my review. I sobbed like a young child during parts of "Up". And similarly, I was a mess as 'Bing Bong' faded away in "Inside Out". And yet here, my tear ducts remained stubbornly unchallenged. Perhaps this is a personal thing, and others were a soggy mess after this movie. But, for me, it simply didn't connect with me at the same raw emotional level that Docter's other work (and indeed other Pixar movies) have done. So, for that reason (only), I'm going to hold off my highest rating.
It's highly recommended since, notwithstanding this, it's a magnificent effort. (At the 11th hour, it made my "Number 7" slot in my Top 10 of 2020). It's also worth noting that it's mildly groundbreaking in being the first Pixar movie with a black leading character.
(For the full graphical review, please check out the full review in One Mann's Movies here - https://bob-the-movie-man.com/2020/12/30/soul-is-pixar-at-its-most-cerebral/).
In "Soul", Joe (Jamie Foxx) is a talented jazz pianist always dreaming of getting to be a big time session musician. He is stuck though in a worthwhile but unappreciated job as a high school music teacher. But his luck is - temporarily - about to change when an old successful student (nice touch) recommends him to provide backing to the fearsome jazz star Dorothea Williams (Angela Bassett).
Just as things seem to going his way, an open manhole cover has other ideas, and Joe falls to his 'death'. Feeling his soul has exited the world too early, and just before he gets his big shot, Joe's spirit struggles to return to the world with the help of reluctant soul/recruit "22" (Tina Fey).
Pete Docter seems to have done it again with "Soul". The man behind Pixar's hugely successful "Up" and "Inside Out" has the magic touch with these animated classics. He's had more than his share of Oscar success. (Although having gone straight to streaming on Disney+, does it qualify for the Oscars this year? Or have they relaxed the rules?) Assuming it is eligible, you'd be a brave man to bet against "Soul" winning Best Animated Feature this year.
For there are some sequences of this movie that are breathtakingly effective. The fall of Joe from the "stairway to the great beyond" to the pre-life domain (as shown in the trailer) is a masterpiece of graphic design. (And do I detect in there a tribute to the "stargate" in "2001: A Space Odyssey"?) What makes these sequences distinctive is not the afterlife soul's or the "great before" souls, who resemble blue variants of Casper. It's the 'counsellors' of the realms. They are surreally drawn Picasso-style in 2D and - although easy to draw for preschooler's with a crayon - might be a bit of a stretch for them to relate to.
But will the kids get it? I know that my 6-year old grandson enjoyed watching it. But ultimately, this is principally a Pixar film squarely targeted at adults to enjoy. Indeed, the themes of death and afterlife might be disturbing for younger children (as in "Coco"). They will certainly struggle to understand the land of lost souls, where those obsessed with their work or hobbies (metal detecting! LOL!) are almost beyond reach. And surely the message of 'enjoying the everyday here and now' rather than getting too wrapped up in career or life goals will only be relatable to adults.
"Soul" is brim-full with Pixar quirkiness. As per normal, the movie has a lot of detail that will need multiple watches. And I can confirm that the pause button helps! For example, "22" has been an earth-apprentice for so many millennia that he has had just about every mentor who's ever passed through. His 'den' is wallpapered with "Hello, My Name is ...." badges, and a pause at that point reveals mentors as varied as Gandhi, Aretha Franklin, Albert Einstein and Stephen Hawking! And in the end titles, the usual list of babies born during production are "Recent You Seminar graduates"!
The movie also features two of the most distinctive voices from UK television. Graham Norton plays Moonwind: a sign-spinning hippy and lost-soul-sea piratical captain (I've honestly not been taking drugs). And Richard Ayoade, a UK TV regular but familiar to US audiences from his role in "The IT Crowd", plays Counsellor Jerry (well, one of them!). Alice Braga, as another Counsellor Jerry and most recently seen as the doctor in "The New Mutants", is another familiar voice
For once, Michael Giacchino doesn't get the scoring gig. Instead, this went to the "Nine Inch Nails" partnership of Trent Reznor and Atticus Ross. (The soundtrack for "Mank" was their most recent work). The music is perhaps not as immediately accessible as some of the previous Pixar scores. But I think will be a 'grower'.
I have a "but" in my review. I sobbed like a young child during parts of "Up". And similarly, I was a mess as 'Bing Bong' faded away in "Inside Out". And yet here, my tear ducts remained stubbornly unchallenged. Perhaps this is a personal thing, and others were a soggy mess after this movie. But, for me, it simply didn't connect with me at the same raw emotional level that Docter's other work (and indeed other Pixar movies) have done. So, for that reason (only), I'm going to hold off my highest rating.
It's highly recommended since, notwithstanding this, it's a magnificent effort. (At the 11th hour, it made my "Number 7" slot in my Top 10 of 2020). It's also worth noting that it's mildly groundbreaking in being the first Pixar movie with a black leading character.
(For the full graphical review, please check out the full review in One Mann's Movies here - https://bob-the-movie-man.com/2020/12/30/soul-is-pixar-at-its-most-cerebral/).
