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Phillip McSween (751 KP) rated Dog Days (2018) in Movies
May 15, 2021
Cheesy but Solid
Dog Days revolves around a number of moving parts stories that shows the strength of relationships between people and man’s best friend.
Acting: 10
Beginning: 5
Typically with stories like these that have a number of different characters sharing screen time, it really can be a challenge to get the film off to a hot start as you introduce everyone. Ten minutes in, I wasn’t completely sold on the film, but it was enough for me to say, “What the hell? I’ll give it a shot.” Not bad, but not great.
Characters: 8
Again, moving parts stories introduce a lot of characters and it’s hard to try and get people to care about everyone. While I wasn’t invested in everyone all of the time, there were plenty of moments where I cared about the character’s outcome. There were certain characters I cared about a lot more than others like the coffee shop girl and the shelter owner.
Cinematography/Visuals: 7
Conflict: 6
This is a family film, very much meant to be light-hearted. While Disney has somehow found a way of perfecting having conflict while keeping things light, Dog Days suffered a bit more in that respect. Maybe it’s the fact that you know everything is going to work itself out in the end. Then again, you kind of know that for most movies, but it’s that drive of conflict that really makes things seem dire and leave you wondering for a bit. Not the case with Dog Days.
Entertainment Value: 10
Not going to lie, this movie really had me invested from beginning to end. It’s funny, endearing, and you get to see a bunch of cute dogs. Not going to win any academy awards, but it’s a fun movie I would recommend for any family. I didn’t leave the theater thinking I had wasted my time. It was more of a, “Wow, that was surprisingly fun.”
Memorability: 9
Pace: 10
The 113-minute runtime definitely doesn’t feel like it. Sometimes having a number of storylines can confuse the audience, but I managed to follow along at an easy pace. There are no bumps, it’s pretty smooth sailing from beginning to end.
Plot: 5
Resolution: 9
Overall: 79
I can think of countless family movies that would be a better use of your two hours than Dog Days. However, for what it is, the movie does the trick. It’s undeniably cute and pretty darn entertaining. Even better if you’re a dog lover. For all of it’s cheesiness, it’s pretty solid overall.
Acting: 10
Beginning: 5
Typically with stories like these that have a number of different characters sharing screen time, it really can be a challenge to get the film off to a hot start as you introduce everyone. Ten minutes in, I wasn’t completely sold on the film, but it was enough for me to say, “What the hell? I’ll give it a shot.” Not bad, but not great.
Characters: 8
Again, moving parts stories introduce a lot of characters and it’s hard to try and get people to care about everyone. While I wasn’t invested in everyone all of the time, there were plenty of moments where I cared about the character’s outcome. There were certain characters I cared about a lot more than others like the coffee shop girl and the shelter owner.
Cinematography/Visuals: 7
Conflict: 6
This is a family film, very much meant to be light-hearted. While Disney has somehow found a way of perfecting having conflict while keeping things light, Dog Days suffered a bit more in that respect. Maybe it’s the fact that you know everything is going to work itself out in the end. Then again, you kind of know that for most movies, but it’s that drive of conflict that really makes things seem dire and leave you wondering for a bit. Not the case with Dog Days.
Entertainment Value: 10
Not going to lie, this movie really had me invested from beginning to end. It’s funny, endearing, and you get to see a bunch of cute dogs. Not going to win any academy awards, but it’s a fun movie I would recommend for any family. I didn’t leave the theater thinking I had wasted my time. It was more of a, “Wow, that was surprisingly fun.”
Memorability: 9
Pace: 10
The 113-minute runtime definitely doesn’t feel like it. Sometimes having a number of storylines can confuse the audience, but I managed to follow along at an easy pace. There are no bumps, it’s pretty smooth sailing from beginning to end.
Plot: 5
Resolution: 9
Overall: 79
I can think of countless family movies that would be a better use of your two hours than Dog Days. However, for what it is, the movie does the trick. It’s undeniably cute and pretty darn entertaining. Even better if you’re a dog lover. For all of it’s cheesiness, it’s pretty solid overall.
Emma @ The Movies (1786 KP) rated Relic (2020) in Movies
Oct 23, 2020
The synopsis for Relic was intriguing and I was confident that I could cope with this sort of horror film... let's see how that went.
When Edna is reported missing her daughter, Kay, and grandaughter, Sam, drive to town to try and find out what has happened to her. Edna's mind is failing, but there's no sign of her until she reappears suddenly with no clue where she's been. Things are almost normal, but Edna's disposition changes, as does the house around her, until they're trapped inside and escaping seems like a distant hope.
The opening of Relic was very atmospheric and it quickly sets the scene for the film, the family dynamic is clear, and the way the house is captured makes a great start at illustrating the toxicity. I had thought that knowing so much about what the film intended on doing was going to take me out of it, but it actually means you can focus on what is happening rather than trying to figure it all out as you go.
The house becomes a bit of an enigma as it evolves, and it's a clever use of the subject matter. I'm hoping that this gets a blu-ray release and we get a "making of" featurette because it feels like the process of crafting the house, and the vision of it, would be an interesting watch in itself.
Each of the three leading ladies has a very individual personality, and the generational divide is well defined. Robyn Nevin jumps backwards and forwards from normal granny to possessed being with amazing skill, and both Emily Mortimer and Bella Heathcote manage to combine the familial care and worry with the horror of the reality in their situation. It's a great team of actresses and the constantly changing dynamics between them are handled so well.
It's an intriguing take on a subject matter that we're all familiar with seeing in a dramatic setting, and it's perfectly suited to this genre. The story in Relic is a perfect way to describe the disease and the way it affects its sufferers and those around them.
My only quibble about the film is the ending. I understood what it all stood for (I think I did at least) but the way it portrayed didn't fit with everything else. That single scene really knocked me out of it, which was a little disappointing, but thankfully it didn't take too much away from what I'd already seen.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/10/relic-movie-review.html
When Edna is reported missing her daughter, Kay, and grandaughter, Sam, drive to town to try and find out what has happened to her. Edna's mind is failing, but there's no sign of her until she reappears suddenly with no clue where she's been. Things are almost normal, but Edna's disposition changes, as does the house around her, until they're trapped inside and escaping seems like a distant hope.
The opening of Relic was very atmospheric and it quickly sets the scene for the film, the family dynamic is clear, and the way the house is captured makes a great start at illustrating the toxicity. I had thought that knowing so much about what the film intended on doing was going to take me out of it, but it actually means you can focus on what is happening rather than trying to figure it all out as you go.
The house becomes a bit of an enigma as it evolves, and it's a clever use of the subject matter. I'm hoping that this gets a blu-ray release and we get a "making of" featurette because it feels like the process of crafting the house, and the vision of it, would be an interesting watch in itself.
Each of the three leading ladies has a very individual personality, and the generational divide is well defined. Robyn Nevin jumps backwards and forwards from normal granny to possessed being with amazing skill, and both Emily Mortimer and Bella Heathcote manage to combine the familial care and worry with the horror of the reality in their situation. It's a great team of actresses and the constantly changing dynamics between them are handled so well.
It's an intriguing take on a subject matter that we're all familiar with seeing in a dramatic setting, and it's perfectly suited to this genre. The story in Relic is a perfect way to describe the disease and the way it affects its sufferers and those around them.
My only quibble about the film is the ending. I understood what it all stood for (I think I did at least) but the way it portrayed didn't fit with everything else. That single scene really knocked me out of it, which was a little disappointing, but thankfully it didn't take too much away from what I'd already seen.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/10/relic-movie-review.html
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Bob Mann (459 KP) rated The Farewell (2019) in Movies
Sep 28, 2021
Simply brilliant. Go see it!
The Long Goodbye.
With “Downton Abbey” and now “The Farewell”, the excesses of the summer blockbusters are fading away. (Though I’m sure Rambo might have something to say about that!)
The Plot.
Billi (Awkwafina) is a young Chinese New Yorker struggling to make her way in the world. She has a place of her own to distance herself from her parents – Haiyan (“Arrival“‘s Tzi Ma) and Lu Jian (Diana Lin) – but is struggling to fund it. But despite a typically spiky teenage relationship with her parents, family is important to her.
There’s a big shock then when her beloved “Nai Nai” (Shuzhen Zhao) is diagnosed back in China with terminal cancer. The slight complication is that no-one has told her. Her younger sister (Hong Lu) has taken the decision to keep the news from her. This is in line with the Chinese saying “When people get Cancer they die”. (Based on the rationale that it is not necessarily the disease that kills you, but the fear that destroys your useful life).
The whole extended family sign up – reluctantly – to the decision. They stage a final get together back in China around the pretence of a trumped-up wedding. This is between the comically reluctant grandson Hao Hao (Han Chen) and his new Japanese girlfriend Aiko (Aoi Mizuhara).
Faced with seeing Nai Nai face-to-face, and being forced to “celebrate” together, can the family – and the emotionally attached Billi in particular – hold it together and keep the secret?
A laff a minute then?
You might naturally assume that given the subject matter that this was going to be SERIOUSLY heavy going. And in many ways you would be right. Most of us over 50 will have lost an elderly relative. And, unless it was a sudden event, you have probably been through the mental pain of having to drive away from a nursing home certain that that will be the final time you will see your loved one alive. If you are therefore not affected by this film, you are not human.
So I was frankly bracing myself.
However, the film is so beautifully put together, and the comedy – albeit some of it very dark – so brilliantly inserted that the film is an UTTER DELIGHT from start to end. There are truly insightful scenes that get under the skin of the well-developed social approach in China to family. (Like the illustrious Mrs Movie-Man, they love big family dinners around a round-table!) Although there is always the teen – Bau (Jinhang Liu) in this case – with his face permanently in his phone!
There are also scenes familiar to anyone who’s visited China. The gaggle of “helpful” taxi drivers outside the airport made me laugh out loud.
Also (unintentionally) funny are the multiple company logos at the start of the film. This is reminiscent of the classic “Family Guy” scene (I think “The Simpsons” also did a similar spoof).
Cinematic.
For such a ‘small’ film, the scale is sometimes truly cinematic. Director and writer, Lulu Wang, achieves some gloriously memorable movie moments. A stony-faced, determined march of the key players towards the camera – which could be subtitled “The Magnificent Eight” – is slo-mo’d for about 30 seconds and is utterly mesmeric.
And a scene at a cemetery is a comic masterpiece of Chinese tradition. Bau of course still has his face in his phone throughout!
This is only Lulu Wang‘s second feature, but it makes me now want to check out her first film (“Posthumous”).
Not afraid to offend either country.
What I found particularly interesting is that the film is truly multi-cultural. It’s not an American film with some local content crudely inserted to cater for the Far East markets. The film is an almost equal blend of American language and Mandarin language with subtitles.
Lulu Wang is also not afraid to upset officials in either country. Which is better: US or China? The question keeps getting posed to Billi and discussed among the family. And – as you might expect – there are positives and negatives on each side. The film doesn’t really take sides. It’s a really balanced position to take.
A quirky soundtrack.
The music is by Alex Weston, and its one of the stars of the film. It’s truly quirky with everything as diverse as a vocalised version of Beethoven’s Sonata No. 8 “Pathetique”; a karaoke version of “Killing Me Softly”; and a hugely entertaining Chinese version of Niilson’s “Without You” over the end titles.
A brilliant ensemble cast.
It’s a great ensemble cast (SAG awards, are you listening?), and everyone pulls their weight. Even the minor members of the cast are superb: Aoi Mizuhara in particular displays acute awkwardness brilliantly!
But leading the charge is Awkwafina. She was in the disappointing “Ocean’s 8” but much more memorable in “Crazy Rich Asians” as Rachel’s wacky Singapore friend. Here it’s a bravado performance that is genuinely moving. She IS the slightly sulky but emotionally crushed teen.
Sub-titles? I don’t do sub-titles.
Get a grip! Yes, this is a film that has sub-titles. But it uses them when required (unless you happen to be fluent in Mandarin that is!). There is also a large percentage of the film that is in English. It’s all eminently watchable, even for “sub-title-phobes”.
This is a feelgood film about a tough subject. The ending of the film pulls off the trick of being both devastating and uplifting at the same time.
So get yourself to the cinema and see this film! Without question, it gets my “highly recommended” tag. It’s also firmly placed itself very high up in my “Films of the Year” list.
And it’s all “based on a true lie”!
With “Downton Abbey” and now “The Farewell”, the excesses of the summer blockbusters are fading away. (Though I’m sure Rambo might have something to say about that!)
The Plot.
Billi (Awkwafina) is a young Chinese New Yorker struggling to make her way in the world. She has a place of her own to distance herself from her parents – Haiyan (“Arrival“‘s Tzi Ma) and Lu Jian (Diana Lin) – but is struggling to fund it. But despite a typically spiky teenage relationship with her parents, family is important to her.
There’s a big shock then when her beloved “Nai Nai” (Shuzhen Zhao) is diagnosed back in China with terminal cancer. The slight complication is that no-one has told her. Her younger sister (Hong Lu) has taken the decision to keep the news from her. This is in line with the Chinese saying “When people get Cancer they die”. (Based on the rationale that it is not necessarily the disease that kills you, but the fear that destroys your useful life).
The whole extended family sign up – reluctantly – to the decision. They stage a final get together back in China around the pretence of a trumped-up wedding. This is between the comically reluctant grandson Hao Hao (Han Chen) and his new Japanese girlfriend Aiko (Aoi Mizuhara).
Faced with seeing Nai Nai face-to-face, and being forced to “celebrate” together, can the family – and the emotionally attached Billi in particular – hold it together and keep the secret?
A laff a minute then?
You might naturally assume that given the subject matter that this was going to be SERIOUSLY heavy going. And in many ways you would be right. Most of us over 50 will have lost an elderly relative. And, unless it was a sudden event, you have probably been through the mental pain of having to drive away from a nursing home certain that that will be the final time you will see your loved one alive. If you are therefore not affected by this film, you are not human.
So I was frankly bracing myself.
However, the film is so beautifully put together, and the comedy – albeit some of it very dark – so brilliantly inserted that the film is an UTTER DELIGHT from start to end. There are truly insightful scenes that get under the skin of the well-developed social approach in China to family. (Like the illustrious Mrs Movie-Man, they love big family dinners around a round-table!) Although there is always the teen – Bau (Jinhang Liu) in this case – with his face permanently in his phone!
There are also scenes familiar to anyone who’s visited China. The gaggle of “helpful” taxi drivers outside the airport made me laugh out loud.
Also (unintentionally) funny are the multiple company logos at the start of the film. This is reminiscent of the classic “Family Guy” scene (I think “The Simpsons” also did a similar spoof).
Cinematic.
For such a ‘small’ film, the scale is sometimes truly cinematic. Director and writer, Lulu Wang, achieves some gloriously memorable movie moments. A stony-faced, determined march of the key players towards the camera – which could be subtitled “The Magnificent Eight” – is slo-mo’d for about 30 seconds and is utterly mesmeric.
And a scene at a cemetery is a comic masterpiece of Chinese tradition. Bau of course still has his face in his phone throughout!
This is only Lulu Wang‘s second feature, but it makes me now want to check out her first film (“Posthumous”).
Not afraid to offend either country.
What I found particularly interesting is that the film is truly multi-cultural. It’s not an American film with some local content crudely inserted to cater for the Far East markets. The film is an almost equal blend of American language and Mandarin language with subtitles.
Lulu Wang is also not afraid to upset officials in either country. Which is better: US or China? The question keeps getting posed to Billi and discussed among the family. And – as you might expect – there are positives and negatives on each side. The film doesn’t really take sides. It’s a really balanced position to take.
A quirky soundtrack.
The music is by Alex Weston, and its one of the stars of the film. It’s truly quirky with everything as diverse as a vocalised version of Beethoven’s Sonata No. 8 “Pathetique”; a karaoke version of “Killing Me Softly”; and a hugely entertaining Chinese version of Niilson’s “Without You” over the end titles.
A brilliant ensemble cast.
It’s a great ensemble cast (SAG awards, are you listening?), and everyone pulls their weight. Even the minor members of the cast are superb: Aoi Mizuhara in particular displays acute awkwardness brilliantly!
But leading the charge is Awkwafina. She was in the disappointing “Ocean’s 8” but much more memorable in “Crazy Rich Asians” as Rachel’s wacky Singapore friend. Here it’s a bravado performance that is genuinely moving. She IS the slightly sulky but emotionally crushed teen.
Sub-titles? I don’t do sub-titles.
Get a grip! Yes, this is a film that has sub-titles. But it uses them when required (unless you happen to be fluent in Mandarin that is!). There is also a large percentage of the film that is in English. It’s all eminently watchable, even for “sub-title-phobes”.
This is a feelgood film about a tough subject. The ending of the film pulls off the trick of being both devastating and uplifting at the same time.
So get yourself to the cinema and see this film! Without question, it gets my “highly recommended” tag. It’s also firmly placed itself very high up in my “Films of the Year” list.
And it’s all “based on a true lie”!
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