Search

Search only in certain items:

Minari (2020)
Minari (2020)
2020 | Drama
7
8.7 (3 Ratings)
Movie Rating
Pleasant Enough
With it’s 6 Oscar nominations (including nominations for Best Picture, Best Director and Best Actor), the drama MINARI has become a touchstone of films with Asian (or Asian-American) roots.

And…it is worthy of these accolades - and this place in history - for MINARI is a warm-hearted, loving look at a Korean-American family trying to make it’s way in the world in 1980’s Arkansas.

Written and Directed in Oscar Nominated fashion (for both categories), Lee Isaac Chung presents a realistic American family looking to forge a new living while still remaining true to their cultural roots.

Steve Yeun (THE WALKING DEAD) is Oscar nominated for his lead role of Jacob, who moves his family to Arkansas in the hopes to start a farm that specializes in Korean food. Yeun’s performance is earnest and sincere and I am happy for him that this performance is nominated. The rest of the family unit is strong - with the stand out being Yuh-Jung Youn as the Grandmother. She brings the most interesting and nuanced character to the screen and I wouldn’t be surprised if she pulls the upset and wins the Oscar for Supporting Actress. Finally, veteran character Actor Will Patton is a spark of energy as a local who helps Jacob on the farm.

And…that, ultimately, is the problem with this film. Writer/Director Chung spends most of his time creating the atmosphere and the characters, He fails to realize that there really is no compelling event to drive the plot forward. It’s a “fine” slice-of-life film and one that is enjoyable to watch with a strong, charismatic cast, but nothing really happens and that, finally, is a problem.

This is most certainly a deserving Oscar nominated film - especially in these pandemic times - with big budget Blockbuster films pushed to the sidelines, this type of quiet film is thrust to the forefront - and good for them and I’m glad that the spotlight is shining on this film. I just wish there was more plot and a more compelling reason to watch this film.

Letter Grade: B

7 stars (out of 10) and you can take this to the Bank(ofMarquis)
  
    Racing Horizon

    Racing Horizon

    Games and Sports

    (0 Ratings) Rate It

    App

    This game could be addictive to those who like racing games. Ready to make those crazy fast and...

    Dead Reckoning

    Dead Reckoning

    (0 Ratings) Rate It

    Tabletop Game

    Dead Reckoning is a game of exploration, piracy, and influence based in a Caribbean-esque setting....

Scary Stories to Tell in the Dark (2019)
Scary Stories to Tell in the Dark (2019)
2019 | Horror
Contains spoilers, click to show
The movie starts Halloween in the 1960s, and a group of teens are planning a trick or treat prank on the jocks in their school. It's just the classic poo in a bag but the jocks get mad and chase them in to a drive in movie, where the teens jump into a young lads car to hide. This lad tells the jocks to basically do one and saves the teens from being pulverised.
As a thank you, the teens invite the young lad to a haunted house with them. They have a look around and start to see strange things, such as an old lady and a dog. After a terrifying ordeal the teens escape and go home. One of them, Stella, had found a book of scary stories in the house which she takes home with her. Stella begins to read the book, and as she reads the scene moves to Tommy (one of jocks) and shows that what she is reading is coming true. When Stella realises this, she takes the book back to the haunted House, however it is not that easy as the book reappears in her bedroom and begins writing another story, only this time it's about her friend August.
The teens decide they must find a way to stop it before the book takes the rest of the group.
I found the start of the movie very slow paced, but once the book comes into it, it moves at a more decent pace and I started to enjoy it, I even looked forward to sei g who the book took next and how.
Word of warning, if you don't like spiders you won't like Ruth's story, I had to look away a lot during that scene. Chucks story started creepy until it showed what was after him, and it just looked ridiculous, I honestly couldn't help but laugh! And Ramones story was also pretty laughable, it made me wonder if it was meant to be a comedy. Sadly from that point I couldn't take it seriously any more.
  
A Time to Kill (1996)
A Time to Kill (1996)
1996 | Drama, Mystery
Story: A Time to Kill starts a we see 10-year-old Tonya beaten and raped by Billy Ray Cobb (Katt) and James Louis Willard (Hutchison) and with the case taken to court it looks like they will get off the charge, her father Carl Lee Hailey (Jackson) takes matters into his own hands.

Carl Lee facing a double murder charge Jake Tyler Brigance (McConaughey) takes the case having to go up against powerful DA Rufus Buckley (Spacey) in what is a case fuelled with racial tension.

When the case brings the Ku Klux Klan back from grave Jake puts his own family in danger but thanks to young law student Ellen Roark (Bullock) and his mentor Lucien Wilbanks (D.Sutherland) to help him keep his business a float and win this case.

A Time to Kill is a racial driven courtroom crime thriller that touches on everything with the nice amount of time. We get left to question what you would do if you were in any of the position between the case which is a huge plus for the film. The idea that we get the racial tension going on because of how the case could be treated differently depending on the skin colour of a character also helps drive the story. when it comes to courtroom drama this is by fair one of the best out there.

 

Actor Review

 

Matthew McConaughey: Jake Tyler Brigance is a young lawyer who has taken over a small law firm from his mentor who struggles to keep the business afloat. When this case comes his way he wants to do the right thing because he knows how this can be a difficult decision and believe he can win the case against the odds. Matthew shows early on in his career he could handle the serious films in leading role.

Sandra Bullock: Ellen Roark is a young law student who has helped on many murder cases and wants to help Jake with this case to help clear Carl Lee from the charges. She has different political beliefs to him which they do class on but their passion together can drive the case. Sandra shines in this role in her early career showing how she can pull of the serious roles too.

Samuel L Jackson: Carl Lee Hailey is the man that finds his daughter beaten and raped and decides to take justice into his own hands by killing the men involved. He doesn’t care what happens to him just as long as he makes these men pay but not faces a double murder charge. Samuel is great in this role as a man who got pushed to his limits.

Kevin Spacey: D A Rufus Buckley is the cocky DA who thinks this case is a slam dunk as he knows he can get the white man’s vote on the jury and questions Jake ability in a courtroom. Kevin while playing a standard character for the villain of the courtroom hit it ot the park in every scene.

Support Cast: A Time to Kill has a supporting cast which is filled with stars in nearly every scene and each one gives a brilliant performance throughout the film.

Director Review: Joel Schumacher – Joel gives us one of his best films that balance the racial tension with the crime case perfectly.

 

Crime: A Time to Kill leaves us in the middle of a court case handle a sensitive subject which poses us questions on where you would stand on such a case.

Thriller: A Time to Kill does keep us one edge wondering where the next twist will come in the story be it in the courtroom or the tension building outside the courts.

Settings: A Time to Kill keeps nearly all the settings within the Louisiana town where racial tension is still strong and you can see the difference in both sides even with the same struggles.

Suggestion: A Time to Kill is one of the most must watch courtroom dramas out there with such a sensitive subject. (Must Watch)

 

Best Part: Closing speech.

Worst Part: Slightly long if you are being picky.

 

Believability: Parts could be.

Chances of Tears: No

Chances of Sequel: No

Post Credits Scene: No

 

Oscar Chances: No

Budget: $40 Million

Runtime: 2 Hours 29 Minutes

Tagline: A lawyer and his assistant fighting to save a father on trial for murder. A time to question what they believe. A time to doubt what they trust. And no time for mistakes.

 

Overall: One of the all-time best courtroom drams out there

https://moviesreview101.com/2016/11/06/matthew-mcconaughey-weekend-a-time-to-kill-1996/
  
40x40

Jeff Nichols recommended The Hustler (1961) in Movies (curated)

 
The Hustler (1961)
The Hustler (1961)
1961 | Drama, Romance

"Then the next Paul Newman film has to be The Hustler — that’s as much about directing as anything else. I know that director [Robert Rossen] didn’t do a ton of stuff but that’s the first time I really started thinking about the frame. That’s not true; I thought about the frame before I even knew I was thinking about the frame when I saw Lawrence of Arabia. I saw The Hustler again on a film print in college. I’d seen it many times before, I actually owned it on video in high school. What high school student owns a video cassette of The Hustler? But I did. I just thought it was so beautiful — that black and white photography. The framing in that film — I think it’s cinema scope. I know it’s 235, so super wide frames. The way they would stack foreground-background action in that — that was a real lesson because I had done this thing in my first video project in film school. I was looking at the camera and I was looking at the shot and it was a video camera that they had on a little pee-wee dolly that had a hydraulic boom arm on it. I was just sitting there looking at this video and wondering, “This is in my infancy as a person thinking about visual storytelling.” I was messing with this hydraulic boom lift and looking at the monitor and all of a sudden I lowered the camera to the point to where this table that was right in front of the camera fell into the foreground. Then I had this thing in the foreground and this carriage in the background. And all of a sudden, it just got vastly more interesting to me. I know that might seem so remedial to people that take photographs and other things. This was a big breakthrough for me. When I went back and looked at The Hustler you see all of this complex foreground-background framing going on. Spielberg‘s the best at it too. Spielberg does it all the time. If you look at scenes in Indiana Jones where they’re sitting across the table the more he puts the camera — it’s awesome. But there’s an elegance to the camera placement and the camera movement in The Hustler that’s pretty undeniable. Not to mention, there’s a reason I’m talking about Paul Newman movies: there’s a behavior emerging in these films from the sixties that I really identified with. I almost felt like they valued it more than people in other decades, because they were so directly breaking free from the structures of studio films of the fifties and that acting style, more importantly. That it seemed like, “Now we’re going to take some seriously flawed characters for a run, for a test drive.” It’s when you start getting, I think, some of the best writing in film history — and character writing specifically. Stories that turn on character more than plot. What an odd plot for The Hustler. What an odd trajectory, but totally compelling. When I guess they’re going to the derby or whatever and that’s when his girlfriend — what an odd structure. That’s really something I strive for in my stuff. Structures that aren’t just a continual execution of plot, but are really driven by characters and their flaws."

Source