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Joe Elliott recommended Ziggy Stardust and the Spiders from Mars: The Motion Picture Soundtrack by David Bowie in Music (curated)
JT (287 KP) rated End of Watch (2012) in Movies
Mar 10, 2020
Officer Brian Taylor’s (Jake Gyllenhaal) opening monologue in which we see a car chase and shoot out from the front dashboard camera of a Los Angeles black and white, sets the tone for what will be a gripping action flick.
It’s an indication that this cop film is not going to be as clear cut as any before it, and its no frills policy will surely shock most viewers as officers Taylor and Zavala (Michael Peña) tackle everything from the mundane to the murderous on their watch. We follow the pair during their daily routines which includes in the locker room, the briefing room as well as unique camera set ups from inside the patrol car and a hand held that Taylor carries along with him.
It’s incredibly well shot, and takes the conventional cop film and gives it a big slice of realism. It would give you the impression of what a real ride along might include, and the kinds of situations they find themselves in.
“I am the police, and I’m here to arrest you. You’ve broken the law.”
These situations might affect you in different ways, like the one involving two young children, which is particularly hard to watch. Director David Ayer has not shied away from the brutality of the surroundings the officers find themselves in, and uncomfortable scenarios are all part and parcel of this job. It’s not long before they start to ruffle a few feathers not just on the streets but within their own department. When they uncover a drug cartel which is a small piece of a very large jigsaw they are marked for death.
The film is also looked at from the view point of LA’s criminal underworld, where it seems everyone has a hand held camera and likes to film themselves. It seems a bit stupid really and maybe Ayer should have kept that side of the story to the conventional camera, it doesn’t work all that well if I’m honest. The relationship between Taylor and Zavala is probably the most believable of any on screen buddy cop partnerships, not since Lethal Weapon (the first film at least) has a pairing conveyed such emotion and chemistry. You’d almost believe that these two had been together for years.
Ayer has had plenty of experience in this field already, having written the scripts for S.W.A.T, Training Day and The Fast and the Furious, but those films only looked at cops from the outside. End of Watch goes in just that little bit further which helps to make it unique from all the rest.
It’s an indication that this cop film is not going to be as clear cut as any before it, and its no frills policy will surely shock most viewers as officers Taylor and Zavala (Michael Peña) tackle everything from the mundane to the murderous on their watch. We follow the pair during their daily routines which includes in the locker room, the briefing room as well as unique camera set ups from inside the patrol car and a hand held that Taylor carries along with him.
It’s incredibly well shot, and takes the conventional cop film and gives it a big slice of realism. It would give you the impression of what a real ride along might include, and the kinds of situations they find themselves in.
“I am the police, and I’m here to arrest you. You’ve broken the law.”
These situations might affect you in different ways, like the one involving two young children, which is particularly hard to watch. Director David Ayer has not shied away from the brutality of the surroundings the officers find themselves in, and uncomfortable scenarios are all part and parcel of this job. It’s not long before they start to ruffle a few feathers not just on the streets but within their own department. When they uncover a drug cartel which is a small piece of a very large jigsaw they are marked for death.
The film is also looked at from the view point of LA’s criminal underworld, where it seems everyone has a hand held camera and likes to film themselves. It seems a bit stupid really and maybe Ayer should have kept that side of the story to the conventional camera, it doesn’t work all that well if I’m honest. The relationship between Taylor and Zavala is probably the most believable of any on screen buddy cop partnerships, not since Lethal Weapon (the first film at least) has a pairing conveyed such emotion and chemistry. You’d almost believe that these two had been together for years.
Ayer has had plenty of experience in this field already, having written the scripts for S.W.A.T, Training Day and The Fast and the Furious, but those films only looked at cops from the outside. End of Watch goes in just that little bit further which helps to make it unique from all the rest.
Bob Mann (459 KP) rated A United Kingdom (2017) in Movies
Sep 29, 2021
“In to Africa”.
I managed to miss this film when it was first shown at the end of 2016. And what a shame as it would have UNDOUBTEDLY made my “Films of the Year” list.
Directed by Amma Asante (“Belle”) this is the true tale of a real-life fairy story, featuring a handsome prince and his love, who can never be his princess thanks to the Machievellian schemings of court-do-gooders and bureaucrats.
The prince in this case is Seretse Kham (David Oyelowo, “Selma“) , heir to the throne of Bechuanaland (now Botswana), who meets and falls in love with a lowly white Lloyd’s of London clerk Ruth Williams (Rosamund Pike, “Gone Girl“, “The World’s End“). The plot has many parallels with that of another film from earlier this year: “Loving” with Ruth Negga and Joel Edgerton. As an inter-racial couple in 1947 this is taboo enough, but the fact that Kham is soon to be king in a country bordering the apartheid tinderkeg that is South Africa blows the affair up to be a diplomatic crisis.
Concern in the corridors of power for Prime Minister Atlee (Anton Lesser) being faced up to by the couple’s supporter – a young Anthony Wedgewood Benn (Jack Lowden).
Defying the officials he marries his true love, driving a wedge between both his own uncle (Vusi Kunene ) and sister (Terry Pheto) and making Ruth an outcast in both countries. As things turn from bad to worse, can true love conquer all their adversities?
Just everything about this film delights. Oyelowo and Pike – always a safe pair of hands – add real emotional depth to their roles. Their relationship feels natural and loving without either of them trying too hard. The estrangement of Ruth from her parents (particularly her father played by Nicholas Lyndhurst) is truly touching.
Another star turn is Harry Potter alumni Tom Felton, playing Rufus Lancaster – a weaselly and very unpleasant local official. I have a prediction…. that in 30 year’s time, the young Potter actor that will be the ‘Ian McKellen of his day’ (that is, a world recognized great actor… not necessarily gay!) will be Felton.
Sam McCurdy (“The Descent”) delivers cinematography of Africa that is vibrant (to be fair, for anyone lucky enough to visit Africa will know, cameras just love the place) and the John Barry-esque music by Patrick Doyle (“Murder on the Orient Express“) is pitch perfect for the mood.
When it says “Based on a true story” it means it: the real family.
A beautifully crafted film that older viewers will just love.
Directed by Amma Asante (“Belle”) this is the true tale of a real-life fairy story, featuring a handsome prince and his love, who can never be his princess thanks to the Machievellian schemings of court-do-gooders and bureaucrats.
The prince in this case is Seretse Kham (David Oyelowo, “Selma“) , heir to the throne of Bechuanaland (now Botswana), who meets and falls in love with a lowly white Lloyd’s of London clerk Ruth Williams (Rosamund Pike, “Gone Girl“, “The World’s End“). The plot has many parallels with that of another film from earlier this year: “Loving” with Ruth Negga and Joel Edgerton. As an inter-racial couple in 1947 this is taboo enough, but the fact that Kham is soon to be king in a country bordering the apartheid tinderkeg that is South Africa blows the affair up to be a diplomatic crisis.
Concern in the corridors of power for Prime Minister Atlee (Anton Lesser) being faced up to by the couple’s supporter – a young Anthony Wedgewood Benn (Jack Lowden).
Defying the officials he marries his true love, driving a wedge between both his own uncle (Vusi Kunene ) and sister (Terry Pheto) and making Ruth an outcast in both countries. As things turn from bad to worse, can true love conquer all their adversities?
Just everything about this film delights. Oyelowo and Pike – always a safe pair of hands – add real emotional depth to their roles. Their relationship feels natural and loving without either of them trying too hard. The estrangement of Ruth from her parents (particularly her father played by Nicholas Lyndhurst) is truly touching.
Another star turn is Harry Potter alumni Tom Felton, playing Rufus Lancaster – a weaselly and very unpleasant local official. I have a prediction…. that in 30 year’s time, the young Potter actor that will be the ‘Ian McKellen of his day’ (that is, a world recognized great actor… not necessarily gay!) will be Felton.
Sam McCurdy (“The Descent”) delivers cinematography of Africa that is vibrant (to be fair, for anyone lucky enough to visit Africa will know, cameras just love the place) and the John Barry-esque music by Patrick Doyle (“Murder on the Orient Express“) is pitch perfect for the mood.
When it says “Based on a true story” it means it: the real family.
A beautifully crafted film that older viewers will just love.
BankofMarquis (1832 KP) rated The Apartment (1960) in Movies
May 11, 2018
A true classic in every sense of the word
My local cinema does "Secret Movie Night" once a month, you just show up and watch a "classic" of their choosing, you just don't know what it is until it starts.
One of the reasons that I enjoy this is that I end up viewing films that I might not, otherwise, choose to watch. Case in point is the selection for May - the 1960 Oscar winner for Best Picture, THE APARTMENT - a "love story" with some comedy and some dark dramatic moments and themes. A very tricky combination of items that are bundled together, brilliantly, by a master of the craft.
THE APARTMENT tells the story of nebbish office worker C.C. Baxter (Jack Lemmon in an Oscar nominated performance, more on that later) who is talked into lending his apartment to higher-ups in his company so they can carry out extra-marital affairs. When one of the affairs goes wrong, Baxter is forced to "clean up the mess".
Written and Directed by the GREAT Billy WIlder (SOME LIKE IT HOT, SUNSET BOULEVARD), The Apartment is more than a love story, more than a look into the vacuous lives of those anonymous office workers, it is a look into the lives of those who are victims of abuse of power. Wilder, rightfully so, won the Oscar for Best Director and Best Screenplay for this film. The Apartment is strongly written and directed not flinching at the deep subject matter while also balancing things out with moments of comedy and joy, turning what could have been a dour, dark subject into a more joyous exploration of true humanity and love rising through the corruption and abuse of power heaped upon them.
In the lead role of CC Baxter, Lemmon is perfectly cast. Starting as a pure comedic character who is set upon by a world too strong for him, his character slowly turns sharper, deeper, more serious and more real as the film progresses. Lemmon was nominated for the Oscar for his performance - and rightfully so. I had to look up who beat him out for the statue and found out it was Burt Lancaster's powerhouse performance in ELMER GANTRY, so I can't really argue about this (but I digress).
Matching Lemmon beat for beat is Shirley MacLaine, the wronged girl who's "issues" (I'm not going to spoil what happens, if you haven't seen this) are at the heart of this film - and at the heart of Lemmon's character. MacLaine is charming and tragic in this role and she, too, was nominated for an Oscar (for Best Actress losing to Elizabeth Taylor for Butterfield 8). Rounding out the cast was a pre-MY 3 SONS Fred MacMurray (as the Exec who abuses both Lemmon's and MacLaine's characters). He was terrific as this cad, and thought for sure that he would have been nominated for Best Supporting Actor, but that honor went to Jack Kruschen as Lemmon's neighbor in the apartment building where they both lived. I am fine with that but preferred MacMurray's performance. Also showing up are such great character actors as Ray Walston (MY FAVORITE MARTIAN), David Lewis (GENERAL HOSPITAL), Willard Waterman (THE GREAT GILDERSLEEVE) and David White (Larry Tate in BEWITCHED) as other Execs using The Apartment for their purposes.
This is a terrific motion picture and if you haven't seen it (or if you haven't seen it in quite sometime), I highly recommend you check it out (it is shown on the Turner Classic Movie channel on a fairly regular basis). It certainly shows a slice of life during the MAD MEN days that just doesn't exist anymore - and also presents a type of film, and a type of filmmaker, that just doesn't exist today.
Letter Grade: A+
10 (out of 10) stars and you can take that to the Bank (ofMarquis)
One of the reasons that I enjoy this is that I end up viewing films that I might not, otherwise, choose to watch. Case in point is the selection for May - the 1960 Oscar winner for Best Picture, THE APARTMENT - a "love story" with some comedy and some dark dramatic moments and themes. A very tricky combination of items that are bundled together, brilliantly, by a master of the craft.
THE APARTMENT tells the story of nebbish office worker C.C. Baxter (Jack Lemmon in an Oscar nominated performance, more on that later) who is talked into lending his apartment to higher-ups in his company so they can carry out extra-marital affairs. When one of the affairs goes wrong, Baxter is forced to "clean up the mess".
Written and Directed by the GREAT Billy WIlder (SOME LIKE IT HOT, SUNSET BOULEVARD), The Apartment is more than a love story, more than a look into the vacuous lives of those anonymous office workers, it is a look into the lives of those who are victims of abuse of power. Wilder, rightfully so, won the Oscar for Best Director and Best Screenplay for this film. The Apartment is strongly written and directed not flinching at the deep subject matter while also balancing things out with moments of comedy and joy, turning what could have been a dour, dark subject into a more joyous exploration of true humanity and love rising through the corruption and abuse of power heaped upon them.
In the lead role of CC Baxter, Lemmon is perfectly cast. Starting as a pure comedic character who is set upon by a world too strong for him, his character slowly turns sharper, deeper, more serious and more real as the film progresses. Lemmon was nominated for the Oscar for his performance - and rightfully so. I had to look up who beat him out for the statue and found out it was Burt Lancaster's powerhouse performance in ELMER GANTRY, so I can't really argue about this (but I digress).
Matching Lemmon beat for beat is Shirley MacLaine, the wronged girl who's "issues" (I'm not going to spoil what happens, if you haven't seen this) are at the heart of this film - and at the heart of Lemmon's character. MacLaine is charming and tragic in this role and she, too, was nominated for an Oscar (for Best Actress losing to Elizabeth Taylor for Butterfield 8). Rounding out the cast was a pre-MY 3 SONS Fred MacMurray (as the Exec who abuses both Lemmon's and MacLaine's characters). He was terrific as this cad, and thought for sure that he would have been nominated for Best Supporting Actor, but that honor went to Jack Kruschen as Lemmon's neighbor in the apartment building where they both lived. I am fine with that but preferred MacMurray's performance. Also showing up are such great character actors as Ray Walston (MY FAVORITE MARTIAN), David Lewis (GENERAL HOSPITAL), Willard Waterman (THE GREAT GILDERSLEEVE) and David White (Larry Tate in BEWITCHED) as other Execs using The Apartment for their purposes.
This is a terrific motion picture and if you haven't seen it (or if you haven't seen it in quite sometime), I highly recommend you check it out (it is shown on the Turner Classic Movie channel on a fairly regular basis). It certainly shows a slice of life during the MAD MEN days that just doesn't exist anymore - and also presents a type of film, and a type of filmmaker, that just doesn't exist today.
Letter Grade: A+
10 (out of 10) stars and you can take that to the Bank (ofMarquis)
BankofMarquis (1832 KP) rated Killers of the Flower moon (2023) in Movies
Oct 27, 2023
Best Thing Scorses (and DeNiro) have done in many, many years
The BankofMarquis would highly recommend you see the latest epic (and we do mean EPIC) film from famed Director Martin Scorsese in a movie theater. Not because of the beautiful Cinematography by Rodrigo Prieto, not because of the Epic-ness of the tale told and not because movie theaters could use your business (all of which are reasons to see it in the movie theaters). You need to see KILLERS OF THE FLOWER MOON in a movie theater so that you cannot be distracted by things around you (most, notably your PHONE). One needs to immerse themselves in the experience of this 3 1/2 movie to totally understand and appreciate it.
And that is because KILLERS OF THE FLOWER MOON is as much atmosphere, mood and setting as it is story. Early on, one of the characters warns another one that the Osage people (the central group in this story) “don’t say much, listen more and let long pauses hang between words” and Scorsese does much of the same. Letting the story hang - and be told in - the silence between the words. And it works…if you are paying attention.
Starring Scorsese regulars Leonardo DiCaprio and Robert DeNiro and featuring a wonderful, soon-to-be-Oscar-Nominated performance by newcomer Lily Gladstone, KILLERS OF THE FLOWER MOON is based on the novel of the same name by David Gann and tells the tale of the Osage Nation who discover oil on their land in the 1920’s and the white men who come to try to connive and steal it away from them.
Taken on the surface, this story could be a pretty straight-forward white-man steals from the Indians story (substitute Buffalo for Oil and we have a story told so many times before - most notably in the Oscar winning movie DANCING WITH WOLVES), but in the hands of master craftsman Scorsese, this movie is much, much more than that.
Easily his best work in at least 10 years, Scorsese lets this story breathe and focuses in on the mood and atmosphere of the period - and the disparate people that inhabit…and battle for…this land and oil. It is the work of a maestro nearing the end of his tenure, skillfully conducting the Orchestra, one last, loving, magnificent time.
Like Scorsese, this is Oscar winner Robert DeNiro’s best performance in years and will not be surprised if he garners his first Oscar nomination in many, many years. Gone are the histrionics and over-the-top gestures and facial ticks that mar his comedic work (and in some cases his non-comedic work). DeNiro returns to the compact, internal “method” acting that was the hallmark of his early (best) work. You can see that this player still has “game” and he gives the role of William “King” Hale some dimension. This is good for this character could have, in lesser hands, turned into a “mustache-twirling” villain tying the heroine to the railroad tracks but in DeNiro’s capable hands (with Scorsese skillfully leading him) it is so much more.
Speaking of the Heroine, newcomer Lily Gladstone is just a strong and compact in her portrayal of Mollie Burkhart - the Osage woman in the center of the story. She gives Lily some sharp edges along with the rounded corners she is given in the script and the story and more than holds her own with the likes of DeNiro and DiCaprio in the many, many scenes she has with them. Most of the time, she needs to express quite a bit with a look or silence (while looking away) and she is able to convey that very, very well.
Fairing less well in this film is Leonardo DiCaprio as Ernest Burkhart, the sad-sack that is the pawn of “King” Hale and the love interest of Lily…or is he? DiCaprio is very good as Burkhart (when has he ever given a bad performance) but this character is thinly written and you can almost see the puppet strings on him. This, probably, is on purpose by Scorsese…but against two solid characters like DeNiro’s “King” Hale and Gladstone’s Molly, there just needed to be a bit more to DiCaprio’s character to make him more interesting.
Since this is a Scorsese film, it is fleshed out by some wonderful character actors led by the always watchable Jesse Plemons as the FBI agent sent to unpack what is going on. Joining him in what are (essentially) extended cameos are John Lithgow, newly minted Oscar winner Brendan Fraser, the always good Tantoo Cardinal, Scott Shepherd (as Leo’s brother) and a myriad of “that guy” and “interesting looking roughnecks” to flesh the feel of the film out - both on the white man as well as the Osage sides of the story.
The aforementioned Cinematography by Rodrigo Prieto along with the Costuming (Jacqueline West), Production Design (Jack Fisk) and Score (Robbie Peterson) all add to the mood of the piece and makes it very successful, indeed.
Just be forewarned, it is as every bit of 3 1/2 hours as it’s runtime dictates. There will be long, slow, silent parts that will make you tempted to pick up your phone - but resist that and enjoy the epic mood piece that is KILLERS OF THE FLOWER MOON. You won’t regret it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis).
And that is because KILLERS OF THE FLOWER MOON is as much atmosphere, mood and setting as it is story. Early on, one of the characters warns another one that the Osage people (the central group in this story) “don’t say much, listen more and let long pauses hang between words” and Scorsese does much of the same. Letting the story hang - and be told in - the silence between the words. And it works…if you are paying attention.
Starring Scorsese regulars Leonardo DiCaprio and Robert DeNiro and featuring a wonderful, soon-to-be-Oscar-Nominated performance by newcomer Lily Gladstone, KILLERS OF THE FLOWER MOON is based on the novel of the same name by David Gann and tells the tale of the Osage Nation who discover oil on their land in the 1920’s and the white men who come to try to connive and steal it away from them.
Taken on the surface, this story could be a pretty straight-forward white-man steals from the Indians story (substitute Buffalo for Oil and we have a story told so many times before - most notably in the Oscar winning movie DANCING WITH WOLVES), but in the hands of master craftsman Scorsese, this movie is much, much more than that.
Easily his best work in at least 10 years, Scorsese lets this story breathe and focuses in on the mood and atmosphere of the period - and the disparate people that inhabit…and battle for…this land and oil. It is the work of a maestro nearing the end of his tenure, skillfully conducting the Orchestra, one last, loving, magnificent time.
Like Scorsese, this is Oscar winner Robert DeNiro’s best performance in years and will not be surprised if he garners his first Oscar nomination in many, many years. Gone are the histrionics and over-the-top gestures and facial ticks that mar his comedic work (and in some cases his non-comedic work). DeNiro returns to the compact, internal “method” acting that was the hallmark of his early (best) work. You can see that this player still has “game” and he gives the role of William “King” Hale some dimension. This is good for this character could have, in lesser hands, turned into a “mustache-twirling” villain tying the heroine to the railroad tracks but in DeNiro’s capable hands (with Scorsese skillfully leading him) it is so much more.
Speaking of the Heroine, newcomer Lily Gladstone is just a strong and compact in her portrayal of Mollie Burkhart - the Osage woman in the center of the story. She gives Lily some sharp edges along with the rounded corners she is given in the script and the story and more than holds her own with the likes of DeNiro and DiCaprio in the many, many scenes she has with them. Most of the time, she needs to express quite a bit with a look or silence (while looking away) and she is able to convey that very, very well.
Fairing less well in this film is Leonardo DiCaprio as Ernest Burkhart, the sad-sack that is the pawn of “King” Hale and the love interest of Lily…or is he? DiCaprio is very good as Burkhart (when has he ever given a bad performance) but this character is thinly written and you can almost see the puppet strings on him. This, probably, is on purpose by Scorsese…but against two solid characters like DeNiro’s “King” Hale and Gladstone’s Molly, there just needed to be a bit more to DiCaprio’s character to make him more interesting.
Since this is a Scorsese film, it is fleshed out by some wonderful character actors led by the always watchable Jesse Plemons as the FBI agent sent to unpack what is going on. Joining him in what are (essentially) extended cameos are John Lithgow, newly minted Oscar winner Brendan Fraser, the always good Tantoo Cardinal, Scott Shepherd (as Leo’s brother) and a myriad of “that guy” and “interesting looking roughnecks” to flesh the feel of the film out - both on the white man as well as the Osage sides of the story.
The aforementioned Cinematography by Rodrigo Prieto along with the Costuming (Jacqueline West), Production Design (Jack Fisk) and Score (Robbie Peterson) all add to the mood of the piece and makes it very successful, indeed.
Just be forewarned, it is as every bit of 3 1/2 hours as it’s runtime dictates. There will be long, slow, silent parts that will make you tempted to pick up your phone - but resist that and enjoy the epic mood piece that is KILLERS OF THE FLOWER MOON. You won’t regret it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis).
Bob Mann (459 KP) rated The Many Saints of Newark (2021) in Movies
Oct 5, 2021
Production design (1 more)
Great cast
Sopranos prequel that failed to hit the high note with this Sopranos virgin.
With Bond showing on virtually every screen of my local Cineworld, there were few other choices for movies to go see this week. So even though I've never seen "The Sopranos" TV series, I decided to give this movie prequel a shot.
Positives:
- Like any good mafia story, there's a nicely developed sense of place for the action. The film is set in the late 60's / early 70's, and the score and the production design nicely portray the period. The rise of black factions to challenge the white status quo, even in the crime world, make this a nice companion piece to "Judas and the Black Messiah" .
- Although he's been in films like "American Hustle" and "Selma", I wouldn't have been able to pick Alessandro Nivola out of a line-up. But he did a great job portraying the different sides of Dickie: both caring uncle and psychopathic gangster. And Odom Jnr is again impressive: I've not yet seen him deliver any role that's been sub-par.
- It's also impressive that they had Michael Gandolfini to play the younger self of his late father's role. Although I kept being distracted by how much he looks and acts like a young John Cusack!
Negatives:
- The story is told over many years and the script came across as quite uneven. There are regular cut-aways to Dickie visiting his uncle "Hollywood Dick" (Ray Liotta) in prison, which a lot of the time, to me, felt disconnected from the main plot.
- Whilst most of the ensemble cast do a good job, some of the portrayals felt like forced caricatures of "Goodfellas" characters.
- As a "Sopranos" virgin, I could tell that there were lots of Easter Eggs and in-jokes in the movie (e.g. The baby Christopher crying whenever Anthony talked to him). WIth "Sopranos" regulars Alan Taylor and David Chase in charge, that's not surprising. But I'm afraid all of these went right over my head.
Summary Thoughts on "The Many Saints of Newark": This wasn't a complete bust for me, which it might have been if it had been a sequel rather than a prequel. Indeed there are the occasional flashes of brilliance with certain scenes. But neither did I find it so engrossing that it's going to trouble my top 20 for the year.
I guess is that if you are a "Sopranos" fan, then you would get a lot more out of this than I did. But it's still an interesting way to spend a couple of hours.
(For the full graphical review, please check out #oemannsmovies on the web, Facebook or Tiktok. Thanks.)
Positives:
- Like any good mafia story, there's a nicely developed sense of place for the action. The film is set in the late 60's / early 70's, and the score and the production design nicely portray the period. The rise of black factions to challenge the white status quo, even in the crime world, make this a nice companion piece to "Judas and the Black Messiah" .
- Although he's been in films like "American Hustle" and "Selma", I wouldn't have been able to pick Alessandro Nivola out of a line-up. But he did a great job portraying the different sides of Dickie: both caring uncle and psychopathic gangster. And Odom Jnr is again impressive: I've not yet seen him deliver any role that's been sub-par.
- It's also impressive that they had Michael Gandolfini to play the younger self of his late father's role. Although I kept being distracted by how much he looks and acts like a young John Cusack!
Negatives:
- The story is told over many years and the script came across as quite uneven. There are regular cut-aways to Dickie visiting his uncle "Hollywood Dick" (Ray Liotta) in prison, which a lot of the time, to me, felt disconnected from the main plot.
- Whilst most of the ensemble cast do a good job, some of the portrayals felt like forced caricatures of "Goodfellas" characters.
- As a "Sopranos" virgin, I could tell that there were lots of Easter Eggs and in-jokes in the movie (e.g. The baby Christopher crying whenever Anthony talked to him). WIth "Sopranos" regulars Alan Taylor and David Chase in charge, that's not surprising. But I'm afraid all of these went right over my head.
Summary Thoughts on "The Many Saints of Newark": This wasn't a complete bust for me, which it might have been if it had been a sequel rather than a prequel. Indeed there are the occasional flashes of brilliance with certain scenes. But neither did I find it so engrossing that it's going to trouble my top 20 for the year.
I guess is that if you are a "Sopranos" fan, then you would get a lot more out of this than I did. But it's still an interesting way to spend a couple of hours.
(For the full graphical review, please check out #oemannsmovies on the web, Facebook or Tiktok. Thanks.)
BankofMarquis (1832 KP) rated Fast & Furious Presents: Hobbs & Shaw (2019) in Movies
Aug 6, 2019
Delivers EXACTLY what is expected - and that's a good thing
If you are heading into the multi-plex to check out FAST AND FURIOUS PRESENTS: HOBBS & SHAW, the 9th(!) entry in the Fast and Furious Universe, you pretty much know (and expect) what you are about to watch.
And HOBBS & SHAW does not disappoint - delivering over-the-top action with unsinkable heroes and unblinking villains battling each other with explosions galore and disposable henchmen being...well...disposed of left and right.
Reprising their roles as "Lawman" Luke Hobbs and "Outcast" Deckard Shaw (F&F terms for them) are the charismatic Dwayne "The Rock" Johnson and the smoldering Jason Statham. Their two characters can't stand each other, so - naturally - they are forced to work in concert with each other to stop Super-Villain Brixton (Edris Elba). Can these 2 "frenemies" learn to put aside their differences and work together to stop a Villain that they cannot stop by themselves?
What do you think?
But...it's the journey...not the destination that's the fun of this film and this film is fun, fun, fun, indeed. Both Johnson and Statham know EXACTLY what type of film they are in - and know what their core audience is coming to this film to see - and they deliver in spades. They are perfect for these characters and are perfectly paired together. While the script, at times, seemed forced, these 2 action SuperStars make even the clunkiest of dialogue work and they are "game" for whatever is thrown at them.
Elba joins in strongly as the villain and newcomer (at least to this franchise) Vanessa Kirby (the White Widow in MISSION IMPOSSIBLE: FALLOUT) just as strongly counterbalances all 3 of them as the "McGuffin" of this film - the thing that the good guys and the bad guys are fighting each other for. Dame Helen Mirren is back as the criminal mother of Statham's character and she understands what type of film she's in as well. So does Eddie Marsan, who looks like he is having an absolute ball as a scientist brought into the fray.
There are also 2 "secret cameos" in this film that are fun - and I perked up in my seat when both of these cameos injected energy into this testosterone-infused flick.
Former Stuntman and Director David Leitch (DEADPOOL 2, ATOMIC BLONDE) throws a ton of action, car chases, guns, fights and explosions at the audience - all to good effect. His answer to bad acting and huge, implausible plot holes? Blow things up! And that works very, very well for this film. Leitch delivers exactly what is expected here - and that's just fine for me.
I was extremely entertained by this movie. I was in the mood for it - and it delivered exactly what I was looking for. Kind of like eating a good burger.
Letter Grade: A- (though, don't expect to break into "discussion groups" afterward)
8 stars (out of 10) and you can take that to the Bank (ofMarquis)
And HOBBS & SHAW does not disappoint - delivering over-the-top action with unsinkable heroes and unblinking villains battling each other with explosions galore and disposable henchmen being...well...disposed of left and right.
Reprising their roles as "Lawman" Luke Hobbs and "Outcast" Deckard Shaw (F&F terms for them) are the charismatic Dwayne "The Rock" Johnson and the smoldering Jason Statham. Their two characters can't stand each other, so - naturally - they are forced to work in concert with each other to stop Super-Villain Brixton (Edris Elba). Can these 2 "frenemies" learn to put aside their differences and work together to stop a Villain that they cannot stop by themselves?
What do you think?
But...it's the journey...not the destination that's the fun of this film and this film is fun, fun, fun, indeed. Both Johnson and Statham know EXACTLY what type of film they are in - and know what their core audience is coming to this film to see - and they deliver in spades. They are perfect for these characters and are perfectly paired together. While the script, at times, seemed forced, these 2 action SuperStars make even the clunkiest of dialogue work and they are "game" for whatever is thrown at them.
Elba joins in strongly as the villain and newcomer (at least to this franchise) Vanessa Kirby (the White Widow in MISSION IMPOSSIBLE: FALLOUT) just as strongly counterbalances all 3 of them as the "McGuffin" of this film - the thing that the good guys and the bad guys are fighting each other for. Dame Helen Mirren is back as the criminal mother of Statham's character and she understands what type of film she's in as well. So does Eddie Marsan, who looks like he is having an absolute ball as a scientist brought into the fray.
There are also 2 "secret cameos" in this film that are fun - and I perked up in my seat when both of these cameos injected energy into this testosterone-infused flick.
Former Stuntman and Director David Leitch (DEADPOOL 2, ATOMIC BLONDE) throws a ton of action, car chases, guns, fights and explosions at the audience - all to good effect. His answer to bad acting and huge, implausible plot holes? Blow things up! And that works very, very well for this film. Leitch delivers exactly what is expected here - and that's just fine for me.
I was extremely entertained by this movie. I was in the mood for it - and it delivered exactly what I was looking for. Kind of like eating a good burger.
Letter Grade: A- (though, don't expect to break into "discussion groups" afterward)
8 stars (out of 10) and you can take that to the Bank (ofMarquis)
Chris Sawin (602 KP) rated Last Looks (2022) in Movies
Feb 5, 2022
Charlie Hunnam (1 more)
Mel Gibson
Interesting side characters that don't pay off (1 more)
Ultimately a boring mystery
"Last Looks" (2022) Review: A Bland, Overstuffed Mystery
In Last Looks, Charlie Waldo (Charlie Hunnam) is a retired cop and former LAPD officer. He ghosted everyone he knew, parked a trailer on the top of a mountain, got rid of nearly everything he owned, and now lives a life of solitude off the grid. Waldo seems genuinely happy surrounded by nothing but nature and his chickens until his new simplistic life is interrupted by his on again and off again ex-girlfriend Lorena (Morena Baccarin) asks for Waldo’s help on a new case.
Alistair Pinch (Mel Gibson) is a talented and accomplished actor whose drinking pushes him to erratic behavior. Pinch is the prime suspect when his wife is murdered. It’s up to Waldo to come out of retirement to prove Pinch’s innocence despite his reluctance to take the case.
Based on the 2018 crime, mystery novel of the same name, Last Looks is written by Howard Michael Gould (who wrote the book and the screenplay) and directed by Tim Kirkby (Action Point). The film attempts to be quirky and funny while offering its audience something intriguing and entertaining; something along the lines of Rian Johnson’s Brick, Shane Black’s Kiss Kiss Bang Bang, or David Robert Mitchell’s Under the Silver Lake.
The biggest draw is that Waldo literally just gets his ass kicked the entire film. It’s repeatedly mentioned that Waldo is rusty in all aspects of investigating, so that likely plays a part of it. But he is knocked down and knocked out more times than you can count throughout the film. One of the only interesting aspects of the film is that Waldo is consistently given signs that he shouldn’t take this case. He’s threatened by gangsters, Pinch is arrested almost immediately after Waldo shows up in Los Angeles, and Lorena disappears without a trace. It may be as simple as Waldo still having a thing for Lorena, but you like to think that it’s also because she’d only ask him for help with a case that deserves his attention.
Last Looks is an odd film. The performances from Charlie Hunnam and Mel Gibson are relatively solid, but it’s as if they’re wasting all of their talent being trapped within the walls of a trampled and soggy paper bag. Waldo encounters all of these eccentric characters as you follow his investigation from his perspective, but it feels like it goes nowhere once it’s all said and done. In the grand scheme of things, Last Looks is boring. There’s no real humor here. The entire film can be summed up as watching Charlie Hunnam stand around and talk and get punched in the face consistently over the course of two hours.
There are some peculiar cameos in Last Looks. Method Man mostly appears in internet videos watched on a mobile phone while Dominic Monaghan shows up as a vape smoking lawyer only to never be seen again after one brief bike rack encounter. Jacob Scipio has a great introductory sequence as a gangster named Don Q who is troubled by deciding whether to get a Kindle or a Nook and then his character kind of fizzles out after that despite being featured prominently in the supporting cast. Don Q has a connection to Lorena that starts off as intriguing with a disappointing payoff.
Jayne White (Lucy Fry) is Gaby Pinch’s, Alistair’s daughter, preschool teacher and her inclusion in the story is a complete mess. White flirts with Waldo from the start, so you know where that’s going but her connection to Alistair and what that branches off into seems overly complicated for the grand scheme of things.
Last Looks is a mysterious stew that experiments with flavorful ingredients throughout its two hour duration. The film ultimately collapses under its own potential resulting in a bland and flavorless concoction. Every side character is just interesting enough to pique your interest and the film is written in a way where it seems like everyone is a suspect, but every potentially exciting aspect fizzles out before it has a chance to light up the sky; like a really expensive firecracker that turns out to be a dud. The film may be worth a look for Mel Gibson’s flashy, boisterous, and drunkenly absurd performance. The mystery in Last Looks is essentially comparable trying to discover the expiration date on a can of mystery meat that has lost its label; it may be life threatening but is otherwise a bore to experience by others.
Alistair Pinch (Mel Gibson) is a talented and accomplished actor whose drinking pushes him to erratic behavior. Pinch is the prime suspect when his wife is murdered. It’s up to Waldo to come out of retirement to prove Pinch’s innocence despite his reluctance to take the case.
Based on the 2018 crime, mystery novel of the same name, Last Looks is written by Howard Michael Gould (who wrote the book and the screenplay) and directed by Tim Kirkby (Action Point). The film attempts to be quirky and funny while offering its audience something intriguing and entertaining; something along the lines of Rian Johnson’s Brick, Shane Black’s Kiss Kiss Bang Bang, or David Robert Mitchell’s Under the Silver Lake.
The biggest draw is that Waldo literally just gets his ass kicked the entire film. It’s repeatedly mentioned that Waldo is rusty in all aspects of investigating, so that likely plays a part of it. But he is knocked down and knocked out more times than you can count throughout the film. One of the only interesting aspects of the film is that Waldo is consistently given signs that he shouldn’t take this case. He’s threatened by gangsters, Pinch is arrested almost immediately after Waldo shows up in Los Angeles, and Lorena disappears without a trace. It may be as simple as Waldo still having a thing for Lorena, but you like to think that it’s also because she’d only ask him for help with a case that deserves his attention.
Last Looks is an odd film. The performances from Charlie Hunnam and Mel Gibson are relatively solid, but it’s as if they’re wasting all of their talent being trapped within the walls of a trampled and soggy paper bag. Waldo encounters all of these eccentric characters as you follow his investigation from his perspective, but it feels like it goes nowhere once it’s all said and done. In the grand scheme of things, Last Looks is boring. There’s no real humor here. The entire film can be summed up as watching Charlie Hunnam stand around and talk and get punched in the face consistently over the course of two hours.
There are some peculiar cameos in Last Looks. Method Man mostly appears in internet videos watched on a mobile phone while Dominic Monaghan shows up as a vape smoking lawyer only to never be seen again after one brief bike rack encounter. Jacob Scipio has a great introductory sequence as a gangster named Don Q who is troubled by deciding whether to get a Kindle or a Nook and then his character kind of fizzles out after that despite being featured prominently in the supporting cast. Don Q has a connection to Lorena that starts off as intriguing with a disappointing payoff.
Jayne White (Lucy Fry) is Gaby Pinch’s, Alistair’s daughter, preschool teacher and her inclusion in the story is a complete mess. White flirts with Waldo from the start, so you know where that’s going but her connection to Alistair and what that branches off into seems overly complicated for the grand scheme of things.
Last Looks is a mysterious stew that experiments with flavorful ingredients throughout its two hour duration. The film ultimately collapses under its own potential resulting in a bland and flavorless concoction. Every side character is just interesting enough to pique your interest and the film is written in a way where it seems like everyone is a suspect, but every potentially exciting aspect fizzles out before it has a chance to light up the sky; like a really expensive firecracker that turns out to be a dud. The film may be worth a look for Mel Gibson’s flashy, boisterous, and drunkenly absurd performance. The mystery in Last Looks is essentially comparable trying to discover the expiration date on a can of mystery meat that has lost its label; it may be life threatening but is otherwise a bore to experience by others.
Phillip McSween (751 KP) rated BlacKkKlansman (2018) in Movies
Mar 7, 2019
Important Movie
Set in the 1970’s, the first black police officer on the Colorado Springs police force attempts to infiltrate the Klu Klux Klan by becoming one of them.
Acting: 10
I don’t know who I liked better throughout the movie, John David Washington as Ron Stallworth or Adam Driver playing Jewish cop Flip Zimmerman. Not only were they amazing individually, but they complimented each other with great chemistry on screen. Whatever emotion director Spike Lee was trying to make you feel was amplified in their joint scenes. Washington is charming, funny, and witty, all the things you want from a leading role. His heroic character is one of my favorites from the year.
Beginning: 10
Characters: 10
Cinematography/Visuals: 9
The visuals are amazingly crisp, poignant for each scene. It transports you perfectly into the time period without feeling overdone. While the film is largely a comedy, it succeeds in spots by relying on tension and intense moments. Spike Lee has a way of capturing those moments with sheer perfection. It has an artsy feel to it, sometimes over the top, but never unrelatable. Relatable Art. I think that’s the best way to describe it.
Conflict: 10
Whether subtle or in your face, conflict comes in waves throughout BlackkKlansman. You keep waiting for bad things to happen and sometimes they do. When they don’t, you know it’s only a matter of time before things get harry again. There was never a point where I was bored in the movie. Even the planning scenes where they were trying to figure out just how to get a black man to infiltrate a white supremacist organization was fun to watch.
Genre: 10
One of the most important dramas of our generation. Period. Nothing else needs to be said here.
Memorability: 10
The story in and of itself brings an originality you won’t soon forget. On paper, it sounds absolutely nuts. Watching it unfold on the big screen is even more nuts. Even though it’s based on a true story, it’s still very much hard to believe. It’s powerful and real with solid messaging that translates to the now. Even the comedy in certain moments has a way of leaving a real impact.
Pace: 10
The film is long, but it’s a smooth long. The pacing feels like a brisk jog. You always know the direction you’re heading and it never feels like it has to cheat or take shortcuts to properly tell the story. Not boring in the least. Engaging and entertaining throughout.
Plot: 8
Again, much respect for an original story. My one gripe: I don’t think the love story was necessary. It didn’t really contribute to the movie as a whole. Everything outside of that was wonderful and beautifully done.
Resolution: 10
Overall: 97
Expected to like BlackkKlansman, but I fell in love with this movie. It tells a wonderful story that leaves you talking long after it’s over. I’ve said this already, but it bears repeating: This is one of the most important films of our generation. See it. Don’t think twice.
Acting: 10
I don’t know who I liked better throughout the movie, John David Washington as Ron Stallworth or Adam Driver playing Jewish cop Flip Zimmerman. Not only were they amazing individually, but they complimented each other with great chemistry on screen. Whatever emotion director Spike Lee was trying to make you feel was amplified in their joint scenes. Washington is charming, funny, and witty, all the things you want from a leading role. His heroic character is one of my favorites from the year.
Beginning: 10
Characters: 10
Cinematography/Visuals: 9
The visuals are amazingly crisp, poignant for each scene. It transports you perfectly into the time period without feeling overdone. While the film is largely a comedy, it succeeds in spots by relying on tension and intense moments. Spike Lee has a way of capturing those moments with sheer perfection. It has an artsy feel to it, sometimes over the top, but never unrelatable. Relatable Art. I think that’s the best way to describe it.
Conflict: 10
Whether subtle or in your face, conflict comes in waves throughout BlackkKlansman. You keep waiting for bad things to happen and sometimes they do. When they don’t, you know it’s only a matter of time before things get harry again. There was never a point where I was bored in the movie. Even the planning scenes where they were trying to figure out just how to get a black man to infiltrate a white supremacist organization was fun to watch.
Genre: 10
One of the most important dramas of our generation. Period. Nothing else needs to be said here.
Memorability: 10
The story in and of itself brings an originality you won’t soon forget. On paper, it sounds absolutely nuts. Watching it unfold on the big screen is even more nuts. Even though it’s based on a true story, it’s still very much hard to believe. It’s powerful and real with solid messaging that translates to the now. Even the comedy in certain moments has a way of leaving a real impact.
Pace: 10
The film is long, but it’s a smooth long. The pacing feels like a brisk jog. You always know the direction you’re heading and it never feels like it has to cheat or take shortcuts to properly tell the story. Not boring in the least. Engaging and entertaining throughout.
Plot: 8
Again, much respect for an original story. My one gripe: I don’t think the love story was necessary. It didn’t really contribute to the movie as a whole. Everything outside of that was wonderful and beautifully done.
Resolution: 10
Overall: 97
Expected to like BlackkKlansman, but I fell in love with this movie. It tells a wonderful story that leaves you talking long after it’s over. I’ve said this already, but it bears repeating: This is one of the most important films of our generation. See it. Don’t think twice.
Hazel (1853 KP) rated Alice Takes Back Wonderland in Books
Dec 14, 2018
<i>This eBook was provided by the publisher via NetGalley in exchange for an honest review </i>
When a book starts with “‘Do you know fairy tales are real’ asked the cat,” you know you are in for a magical ride. Nearly everyone knows the tale of the seven-year-old girl from nineteenth century London who falls down a rabbit hole and spends a day of madness in the magical world of Wonderland. In David D. Hammons version, however, Alice was a young girl from twenty-first century Missouri. On her return to the real world she was diagnosed with ADHD and Schizophrenia and forced to believe that the Cheshire Cat and the Mad Hatter were figments of her imagination. But ten years later a white rabbit appears and leads Alice back to the world where nothing makes sense.
All is not well in Wonderland. The Cheshire Cat is dead and the Ace of Spades is in charge. Barely anything is the way Alice remembers. Everything looks far too “normal” and similar to the world she comes from. Ace is determined to remove the wonder from Wonderland and create a place where madness is forbidden. Alice has a big fight on her hands as she tries to end this former playing card’s tyrannous reign and restore Wonderland back to its original insanity.
<i>Alice Takes Back Wonderland</i> is not purely a retelling of Lewis Carrols famous story. Although many of the well known and loved characters appear in this book, so do others from a variety of different fairytales: <i>Peter Pan, Pinocchio</i>, and various tales from the <i>Brothers Grimm</i>. As readers will discover, all is not exactly as it should be for these characters either. Despite them being contrasting, magical stories, Hammons has successfully merged them all together in an imaginative manner resulting in a humorous young adult novel.
Although mostly focused on the goings on in Wonderland and the other fictional locations, it is also a subtle metaphor to describe what Alice’s life had been like back in present day America. For a decade Alice was forced to take medication to help her understand the difference between reality and fantasy. It got rid of most of the nonsense thoughts she picked up during her first visit to Wonderland. In a way, that is what the Ace of Spades is doing to characters he believes are mad. He is taking the wonder out of them, just like the pills to the wonder out of Alice.
Lovers of fairytales will definitely love this book, especially those who grew up loving <i>Alice in Wonderland</i> and <i>Peter Pan</i>. In some ways it is a continuation of the original tale, yet in other ways it could be viewed as an alternative way the story could have gone. Primarily targeted at young adults, <i>Alice Takes Back Wonderland</i> is much darker than Carrols version and combines a mix of real life with fantasy. It also goes to show that no one is too old for fairytales!
When a book starts with “‘Do you know fairy tales are real’ asked the cat,” you know you are in for a magical ride. Nearly everyone knows the tale of the seven-year-old girl from nineteenth century London who falls down a rabbit hole and spends a day of madness in the magical world of Wonderland. In David D. Hammons version, however, Alice was a young girl from twenty-first century Missouri. On her return to the real world she was diagnosed with ADHD and Schizophrenia and forced to believe that the Cheshire Cat and the Mad Hatter were figments of her imagination. But ten years later a white rabbit appears and leads Alice back to the world where nothing makes sense.
All is not well in Wonderland. The Cheshire Cat is dead and the Ace of Spades is in charge. Barely anything is the way Alice remembers. Everything looks far too “normal” and similar to the world she comes from. Ace is determined to remove the wonder from Wonderland and create a place where madness is forbidden. Alice has a big fight on her hands as she tries to end this former playing card’s tyrannous reign and restore Wonderland back to its original insanity.
<i>Alice Takes Back Wonderland</i> is not purely a retelling of Lewis Carrols famous story. Although many of the well known and loved characters appear in this book, so do others from a variety of different fairytales: <i>Peter Pan, Pinocchio</i>, and various tales from the <i>Brothers Grimm</i>. As readers will discover, all is not exactly as it should be for these characters either. Despite them being contrasting, magical stories, Hammons has successfully merged them all together in an imaginative manner resulting in a humorous young adult novel.
Although mostly focused on the goings on in Wonderland and the other fictional locations, it is also a subtle metaphor to describe what Alice’s life had been like back in present day America. For a decade Alice was forced to take medication to help her understand the difference between reality and fantasy. It got rid of most of the nonsense thoughts she picked up during her first visit to Wonderland. In a way, that is what the Ace of Spades is doing to characters he believes are mad. He is taking the wonder out of them, just like the pills to the wonder out of Alice.
Lovers of fairytales will definitely love this book, especially those who grew up loving <i>Alice in Wonderland</i> and <i>Peter Pan</i>. In some ways it is a continuation of the original tale, yet in other ways it could be viewed as an alternative way the story could have gone. Primarily targeted at young adults, <i>Alice Takes Back Wonderland</i> is much darker than Carrols version and combines a mix of real life with fantasy. It also goes to show that no one is too old for fairytales!